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    The Cherry Orchard
    The Cherry Orchard
    The Cherry Orchard
    Ebook83 pages1 hour

    The Cherry Orchard

    By Anton Chekhov

    3.5/5

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    About this ebook

    "The Cherry Orchard" was the last play written by Anton Chekhov and is widely regarded as one of his greatest dramatic accomplishments. It is the story of an aristocratic Russian woman and her family who return to their estate, a cherry orchard, to oversee the auction of the estate in order to pay the mortgage. The rise of the middle class and the decline of the aristocracy that was prevalent at the end of the 20th century in Russia, and ultimately led to the Socialistic Revolution, are excellently portrayed in Chekhov's "The Cherry Orchard".
    LanguageEnglish
    PublisherDigireads.com Publishing
    Release dateJan 1, 2010
    ISBN9781420902341
    Author

    Anton Chekhov

    Anton Chekhov was born in 1860 in Southern Russia and moved to Moscow to study medicine. Whilst at university he sold short stories and sketches to magazines to raise money to support his family. His success and acclaim grew as both a writer of fiction and of plays whilst he continued to practice medicine. Ill health forced him to move from his country estate near Moscow to Yalta where he wrote some of his most famous work, and it was there that he married actress Olga Knipper. He died from tuberculosis in 1904.

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    Reviews for The Cherry Orchard

    3.5/5

    19 ratings11 reviews

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    • 3/5
      I fell asleep twice while reading this play (and it's not that long). It felt so choppy, like there were 10 different conversations going on at the same time, none of them related. My interest picked up in the second half though, and I liked the ending. I'd love to experience this on stage and see if I came away with a better opinion of it.
    • 3/5
      Poor money management forces a family to sell its property including a large cherry orchard. Before closing the property, however, everyone returns to bid each other farewell. Comedic moments include a man who is totally obsessed with billiards and a bittersweet moment when they leave and lock in the old, faithful retainer. Job-lot!
    • 4/5
      Chekhov is always someone I grapple with from time to time before deciding what I really think of the play. This was good, but mildly pointless. I didn't feel changed or moved by reading it, and I wonder about what seeing it would have changed. It certainly would have a different feel to it in production than it did in reading.
    • 2/5
      I found it difficult to sympathize with any of the characters, even Lubov who had the most tragic background. As a tale of the decline of Russian nobility and rising of the former serfs into middle class, it was fairly effective but not entertaining. Perhaps I would like a stage production more...
    • 5/5
      This is a great edition; it has a short but thorough bio of Chekhov, an intro with some basic interpretation, and great notes throughout based on letter the author wrote to some of the original productions' principals.
    • 4/5
      Having already read Chekhov's Ivanov, I founded myself comparing the two as a bit and enjoying this play more. It's about a family who is losing their wealth and needs to sell their cherry orchard, and I thought that was much more relatable than the story of Ivanov.The one thing that I really enjoyed about this play was the sense of memory that I got while I was reading it. I think Chekhov did a good job of showing why this place was important to the family. I got a sense that there was a lot of sorrow about losing the orchard, but in some ways he very much incorporated the hope for the future which I enjoyed. Overall I'd say it's a really good story about family and we hold certain places dear to us. My only complaint is that at times the names got a bit confusing.
    • 2/5
      De Kersentuin draait in wezen om de komst van het moderne, om verandering. Kracht van Tsjechov is montage, van gevoel naar gevoel, voor alles uitgesproken is, vb gebruik pauzes. Omstreden: drama of komedie, naturalistische of symbolische lectuur
    • 3/5
      Nope.No likeable characters whatsoever, with a plot that I couldn't bring myself to care about at all. Gah.
    • 1/5
      Another example of how I'm usually disappointed when I listen to something that other people consider great, but which does not a priori sound appealing.This probably reveals me as a philistine, but I just couldn't found much of value in this. We have a bunch of upper-class Russian twits who think the world owes them a living, who do absolutely nothing of value to anyone, not even things of abstract value like art or science, and who are bitterly disappointed when the tragedy that everyone has been warning them about for years finally arrives and no deus ex machina saves them. The only character in the play I had the remotest sympathy for was the student who tells them to their faces that they are parasites and that their day is over, not that his warnings are heeded.Maybe this play is viewed in the same way as Gone with the Wind nostalgia --- everyone who pines for this better simpler way of life assumes that for some reason they're going to be part of the aristrocracy in this alternate world, not one of the lower classes.

      1 person found this helpful

    • 2/5
      saw Anette Benning and Alfred Molin star in this play. not Chekhov's best but good times.
    • 5/5
      This play is different every time I read it. When I was younger and still believed that my family's land would continue to be passed down the generations, it was tragic; when I had learned about the Japanese word "aware" it was beautiful; when I had learned something about how easily even clever women fall into traps and call them love, I wanted to believe somehow that Lyuba's generosity meant something anyway; as a young person of business I feared becoming Lopakhin with his, as it seemed to me, idealistic excuses for exploitation no different from those of the old aristocracy; after a few years of good fortune I looked less pityingly on old Pishtchik, whose attitude really isn't so absurd, though he may not be a gifted accountant.Through this reading, though, all I could think about was Firs saying "They knew some way in those days.... They've forgotten. Nobody remembers how to do it." And I look out the window at people who don't remember when shoes were supposed to last more than one season, lenders weren't allowed to charge 25%, growing food wasn't just a health craze but a normal way of life, books didn't cost $10 plus a special $180 decoder gizmo that would be outmoded in a year - and I think about all the people my age who have no idea how to run a business or why it would be desirable to own land - and I think it may not be the cherry orchard, but the Firs of this world, the ones who remember good sense and precaution, the ones who knew their ancestors' knowledge, we must fear most to lose.

    Book preview

    The Cherry Orchard - Anton Chekhov

    THE CHERRY ORCHARD

    BY ANTON CHEKHOV

    TRANSLATED BY JULIUS WEST

    A Digireads.com Book

    Digireads.com Publishing

    Print ISBN 13: 978-1-4209-3127-3

    Ebook ISBN 13: 978-1-4209-0234-1

    This edition copyright © 2011

    Please visit www.digireads.com

    CONTENTS

    ACT ONE

    ACT TWO

    ACT THREE

    ACT FOUR

    THE CHERRY ORCHARD

    A COMEDY IN FOUR ACTS

    CHARACTERS

    LUBOV ANDREYEVNA RANEVSKY (Mme. RANEVSKY), a landowner

    ANYA, her daughter, aged seventeen

    VARYA (BARBARA), her adopted daughter, aged twenty-seven

    LEONID ANDREYEVITCH GAEV, Mme. Ranevsky's brother

    ERMOLAI ALEXEYEVITCH LOPAKHIN, a merchant

    PETER SERGEYEVITCH TROFIMOV, a student

    BORIS BORISOVITCH

    SIMEONOV-PISCHIN, a landowner

    CHARLOTTA IVANOVNA, a governess

    SIMEON PANTELEYEVITCH EPIKHODOV, a clerk

    DUNYASHA (AVDOTYA FEDOROVNA), a maidservant

    FIERS, an old footman, aged eighty-seven YASHA, a young footman

    A TRAMP

    A STATION-MASTER

    POST-OFFICE CLERK

    GUESTS

    A SERVANT

    The action takes place on Mme. RANEVSKY'S estate

    ACT ONE

    [A room which is still called the nursery. One of the doors leads into ANYA'S room. It is close on sunrise. It is May. The cherry-trees are in flower but it is chilly in the garden. There is an early frost. The windows of the room are shut. DUNYASHA comes in with a candle, and LOPAKHIN with a book in his hand.]

    LOPAKHIN. The train's arrived, thank God. What's the time?

    DUNYASHA. It will soon be two. [Blows out candle] It is light already.

    LOPAKHIN. How much was the train late? Two hours at least. [Yawns and stretches himself] I have made a rotten mess of it! I came here on purpose to meet them at the station, and then overslept myself ... in my chair. It's a pity. I wish you'd wakened me.

    DUNYASHA. I thought you'd gone away. [Listening] I think I hear them coming.

    LOPAKHIN. [Listens] No. ... They've got to collect their luggage and so on. ... [Pause] Lubov Andreyevna has been living abroad for five years; I don't know what she'll be like now. ... She's a good sort—an easy, simple person. I remember when I was a boy of fifteen, my father, who is dead—he used to keep a shop in the village here—hit me on the face with his fist, and my nose bled. ... We had gone into the yard together for something or other, and he was a little drunk. Lubov Andreyevna, as I remember her now, was still young, and very thin, and she took me to the washstand here in this very room, the nursery. She said, Don't cry, little man, it'll be all right in time for your wedding. [Pause] Little man. ... My father was a peasant, it's true, but here I am in a white waistcoat and yellow shoes ... a pearl out of an oyster. I'm rich now, with lots of money, but just think about it and examine me, and you'll find I'm still a peasant down to the marrow of my bones. [Turns over the pages of his book] Here I've been reading this book, but I understood nothing. I read and fell asleep. [Pause.]

    DUNYASHA. The dogs didn't sleep all night; they know that they're coming.

    LOPAKHIN. What's up with you, Dunyasha ...?

    DUNYASHA. My hands are shaking. I shall faint.

    LOPAKHIN. You're too sensitive, Dunyasha. You dress just like a lady, and you do your hair like one too. You oughtn't. You should know your place.

    EPIKHODOV. [Enters with a bouquet. He wears a short jacket and brilliantly polished boots which squeak audibly. He drops the bouquet as he enters, then picks it up] The gardener sent these; says they're to go into the dining-room. [Gives the bouquet to DUNYASHA.]

    LOPAKHIN. And you'll bring me some kvass.

    DUNYASHA. Very well. [Exit.]

    EPIKHODOV. There's a frost this morning—three degrees, and the cherry-trees are all in flower. I can't approve of our climate. [Sighs] I can't. Our climate is indisposed to favour us even this once. And, Ermolai Alexeyevitch, allow me to say to you, in addition, that I bought myself some boots two days ago, and I beg to assure you that they squeak in a perfectly unbearable manner. What shall I put on them?

    LOPAKHIN. Go away. You bore me.

    EPIKHODOV. Some misfortune happens to me every day. But I don't complain; I'm used to it, and I can smile. [DUNYASHA comes in and brings LOPAKHIN some kvass] I shall go. [Knocks over a chair] There. ... [Triumphantly] There, you see, if I may use the word, what circumstances I am in, so to speak. It is even simply marvellous. [Exit.]

    DUNYASHA. I may confess to you, Ermolai Alexeyevitch, that Epikhodov has proposed to me.

    LOPAKHIN. Ah!

    DUNYASHA. I don't know what to do about it. He's a nice young man, but every now and again, when he begins talking, you can't understand a word he's saying. I think I like him. He's madly in love with me. He's an unlucky man; every day something happens. We tease him about it. They call him Two-and-twenty troubles.

    LOPAKHIN. [Listens] There they come, I think.

    DUNYASHA. They're coming! What's the matter with me? I'm cold all over.

    LOPAKHIN. There they are, right enough. Let's go and meet them. Will she know me? We haven't seen each other for five years.

    DUNYASHA. [Excited] I shall faint in a

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