The Cherry Orchard (Style)

Style

Comedy Vs. Tragedy

Anton Chekhov wrote his last play, The Cherry Orchard, as a comedy about a wealthy family that loses its beloved home and orchard to a man who was born a serf on their estate. A comedy is one of the two kinds of drama (the other is tragedy), one that is meant to amuse and typically ends happily. Chekhov referred to The Cherry Orchard as a farce, which is a type of comedy characterized by broad humor, outlandish incidents, and often vulgar subject matter. When Konstantin Stanislavsky decided to produce the play at the Moscow Art Theater in 1904, however, he stated in a letter to Chekhov, as quoted in Stages of Drama: Classical to Contemporary Theater: “It is not a comedy, not a farce, as you wrote — it is a tragedy no matter if you do indicate a way out into a better world in the last act. . . when I read it for the second time. . . I wept like a woman, I tried to control myself, but I could not. I can hear you say: ‘But please, this is a farce. . .’ No, for the ordinary person this is a tragedy.” This difference of opinion between Chekhov and Stanislavsky would lead to a great rift between the two friends. Like that first production, most contemporary productions of The Cherry Orchard still emphasize the play’s tragic elements, rather than choosing to present Chekhov’s vision of the play as a farce.

A tragedy, strictly defined, is a drama in prose or poetry about a noble, courageous hero of excellent character who, because of a tragic flaw, brings disaster upon himself. Tragedy treats its subjects in a dignified and serious manner, using poetic language to help evoke pity and fear and bring about catharsis, a spiritual awakening or renewal. The Cherry Orchard does not fit into the conventional definition of tragedy, but the inability of the main characters to act to save themselves or solve their own problems serves to evoke empathy in the reader/viewer. The play provokes a feeling that the circumstances depicted are tragic, despite the humorous passages.

Comic Moments

There are many comic situations in the play. Leonid Gayev’s constant calling out of imaginary billiard shots, and his chatter create some wonderful comic moments: his salute to the one-hundred-year-old bookcase (“Dear highly esteemed bookcase, I salute you”), and his addiction to hard candy are a few examples. Simon Yepikhodov, also known as Twenty-two Calamities, is a character included purely for comic effect. His boots squeak, and, as he states: “Everyday, sir, I’m overtaken by some calamity. Not that I mind. I’m used to it. I just smile.” Yepikhodov’s love triangle with Dunyasha and Yasha lends comic value as well.

The elderly servant Firs’s doddering ways and muttering-and the misunderstandings that result from his frailties — are also presented with comic intent. However, language is used to make Peter Trofimov comic in a much different way; his passion often gives way to comical rants. After he is chastised by Mrs. Ranevsky for his declaration that he is “above love” with Any a, he storms out and falls down a flight of stairs. This is played for comic effect in Chekhov’s stage directions, but could easily be portrayed in a serious manner. Yasha’s exchange with Dunyasha in the orchard is another comic moment. Calling Dunyasha his “little cucumber,” Yasha flirts with her and makes her love him, while fully intending to leave her. Again, the complexity of the characters that Chekhov has created leave room for interpretation by actors and directors.

Boris Simeonov-Pishchik is both tragic and comic at the same time. He is constantly seeking a loan from Mrs. Ranevsky to pay off his debts, though her financial situation is no better than his. Most of his pleas are comic, yet the entire situation is a dreadful one. Chekhov’s idea of finding the humor in tragic circumstances is an important part of his individuality as a playwright. Pishchik’s comments about his family pedigree lead to his admission that he has fallen on hard times: “My father, may he rest in peace, liked his little joke, and speaking about our family pedigree, he used to say that the ancient Simeonov-Pishchiks came from the horse that Caligula had made a senator. But you see, the trouble is that I have no money. A hungry dog believes only in meat. I’m just the same. All I can think of is money.” Although one can certainly find humor in Pishchik’s statement, anyone who has ever worried about his or her finances can sympathize with his preoccupation with money. In numerous situations, Chekhov manages to walk a fine line between comedy and pathos, one that could fall to either side depending upon interpretation. This is a contradiction present in the play, and it illustrates why some consider it a farce and others regard it as a tragedy.

Point of View and Empathy

The point of view in this play is third-person, allowing the audience to see the events in the story from outside any particular character but without any insights into their inner thoughts or motivations. The audience often experiences empathy for these characters. Empathy is a shared sense of experience, including emotional and physical feelings, with someone or something other than oneself. When, at the end of the play, the axes begin the job of chopping the orchard down; the reader/viewer feels Mrs. Ranevsky’s pain. Upon learning of her young son’s death, which is followed shortly by her husband’s (events that take place prior to the play’s first act), the audience understands her need to run away to Paris. Similarly, when Lopakhin fails to propose to Varya, the audience can appreciate the heartbreak she experiences.

“FOR THE ORDINARY PERSON THIS IS A TRAGEDY”