Petya Trofimov (Petr Sergeevich Trofimov) is one of the brightest characters in the play “The Cherry Orchard” by Chekhov. This article presents a quotation image and characterization of Petya Trofimov in the play “The Cherry Orchard”: a description of the appearance and character of the hero, his views, etc.
The full name of the hero is Pyotr Sergeevich Trofimov:
Petya Trofimov – student:
“...Trofimov Petr Sergeevich, student...”
Petya Trofimov – former teacher of Grisha, Ranevskaya’s son:
“...And Petya Trofimov was Grisha’s teacher, he can remind you...” “...Petya Trofimov, your Grisha’s former teacher... Have I really changed that much?..”
Petya Trofimov’s age is 26-27 years:
“...Are you twenty-six years old or twenty-seven...” “...I’m not yet thirty, I’m young...”
Appearance of Petya Trofimov:
“...Trofimov enters in a worn student uniform, wearing glasses...” “...What, Petya? Why are you so stupid? Why have you aged?..” “...How ugly you have become, Petya, how you have aged!..” “...You were just a boy then, a cute student, and now your hair is not thick, glasses...” “...And you need something with make a beard so that it grows somehow...” “...Petya, here they are, your galoshes, next to the suitcase. (With tears.) And how dirty and old they are..."
Petya is called a “shabby gentleman” because of his poverty:
“...One woman in the carriage called me this: shabby gentleman...” “...Shabby gentleman!..”
Petya Trofimov is an eternal student. He can't finish his studies:
“...and you’re still a second-grade high school student!..” “...Are you really still a student?..” “...I must be an eternal student...” “...Our eternal student always hangs out with young ladies...” “...He’s fifty years soon, and he’s still a student...”
Petya has already been expelled from the university twice:
"…Eternal student! I’ve already been fired from the university twice…”
Petya Trofimov is not involved in any serious business:
“...only, my dear, you have to study, you have to finish the course. You don’t do anything, only fate throws you from place to place, it’s so strange...”
Petya Trofimov makes a living by translating from foreign languages:
"…Eat. Thank you. I received it for the translation. Here they are, in your pocket...”
Petya Trofimov is a smart person:
“...How smart you are, Petya!..”
Petya Trofimov is a good, kind person:
“...Have pity on me, good, kind man...”
Petya Trofimov has a pure soul:
“...Well, Petya... well, pure soul... I ask for forgiveness...”
Petya Trofimov is a modest person. He is afraid to embarrass others:
“...They sleep in the bathhouse and live there. I'm afraid, they say, to embarrass..."
Petya Trofimov is a funny man, an eccentric:
“...You’re funny!..” “...funny eccentric, freak...” “...Petya, wait! Funny man, I was joking! Petya!..” “...What an eccentric this Petya is...”
Petya Trofimov is a philosopher at heart:
“...Trofimov. Who knows? And what does it mean to die? Perhaps a person has a hundred senses and with death only five known to us perish, while the remaining ninety-five remain alive. Petya Trofimov knows how to speak beautifully:“...How well you speak!..”
Petya Trofimov is an optimist despite the fact that he has already experienced a lot in life:
“...I’m not yet thirty, I’m young, I’m still a student, but I’ve already endured so much! Like winter, I am hungry, sick, anxious, poor, like a beggar, and - wherever fate has driven me, wherever I have been! And yet my soul was always, at every moment, day and night, full of inexplicable forebodings. I have a presentiment of happiness, Anya, I already see it...”
After the story with the cherry orchard, Petya returns to Moscow to study:
“...Yes, I’ll take them to the city, and tomorrow to Moscow...”
Petya Trofimov is a proud man:
“...Leave it, leave it... Give me at least two hundred thousand, I won’t take it. Im free person. And everything that you all value so highly and dearly, rich and poor, does not have the slightest power over me, just like fluff that floats through the air. I can do without you, I can pass by you, I am strong and proud...”
Petya is proud that he is poor:
“...Yes, I’m a shabby gentleman and I’m proud of it!..”
Petya strives for “highest happiness”:
“...Humanity is moving towards the highest truth, towards the highest happiness that is possible on earth, and I am in the forefront!..”
Petya strives for freedom and calls on everyone to “be free”:
“...If you have the keys to the farm, then throw them into the well and leave. Be free like the wind..."
Petya Trofimov is friends with Anya Ranevskaya. He propagates to her his views about freedom, happiness, etc.:
“...All summer she haunted neither me nor Anya, she was afraid that our romance would not work out. What does she care? And besides, I didn’t show it, I’m so far from vulgarity. We are above love!..”
In one of his letters to his wife, Chekhov gives a brief description of Petya Trofimov: This was a quotation image and characterization of Petya Trofimov (Peter Sergeevich Trofimov) in Chekhov’s play “The Cherry Orchard”: a description of his appearance and character, his views, etc.
See: All materials about the play “The Cherry Orchard”
The image and characteristics of Petya Trofimov The Cherry Orchard essay
Initially, the author created the image of Petya Trofimov in the famous play “The Cherry Orchard” as the image of an exclusively positive hero. And although Anton Pavlovich did not make this image the main character, nevertheless he plays an important role in the work.
A young guy who has the status of a commoner in society, he was born and raised in the family of a simple pharmacist.
The most important thing that initially separates this hero from the others, who by the way are given the main roles in the work, is that the young guy is absolutely not interested in the fate of the house and the garden.
He does not show any interest in it, he is not connected with this house or garden by any life story, or even tragedy, he is simply one of the so-called minor characters of this work.
By the way, this is precisely what becomes his clear advantage, because he has an excellent opportunity to look at and evaluate the entire current situation from the outside, as a completely uninterested person.
Unlike other heroes who are more depressed by what is happening, he does not perceive the situation at all, believing that it does not concern him.
It will also be very important to note that readers can clearly see the comic attitude towards this hero.
As for the external physique, it should be rightly noted that this hero is a very ordinary, one might even say slightly ordinary, person.
In terms of physique, he is not exactly well-proportioned; in terms of external appearance, he is not particularly handsome. Many frankly call him a strange hero of the work.
It must be said that such a description clashes very sharply with a lack of understanding of how such a person could be endowed with a romantic side.
His pathetic speeches on these topics cause sharp misunderstanding and even embarrassment among other heroes. However, the hero himself does not see anything beyond natural in this, believing that this is absolutely normal.
Another incomprehensible feature of Petya Trofimov in this work is his amazing view of this life.
But, it should be noted that the most unpleasant thing about this hero is considered to be his negative reflection on the world, his ugly, sometimes even arrogant words, which he scatters without remorse as soon as he wishes.
In general, it is worth noting that when creating this hero, the author himself experienced incomprehensible feelings for him and they were fully transmitted to everyone who read this work.
Essay Petya Trofimov image and characteristics
One of the heroes in the play “The Cherry Orchard,” the hero Petya Trofimov was created by the author of this work as an image of an exclusively positive character. He is not the main character, but despite this, he attracts the attention of the characters around him and the readers who subsequently read this play.
A young guy who was a commoner. Petya was born and raised in a poor family of a simple pharmacist. In this play, he is completely indifferent to the fate of the cherry orchard, and he is not attached to anything at all, he simply lives his simple life, openly expressing all his thoughts and reasoning.
Unlike other heroes who are busy with their experiences associated with this garden, or generally live a completely different life, Peter has the opportunity to look at all this from the outside, rightly understanding the situation, as an uninterested person.
But not all the characters in the play like Peter’s statements; many openly laugh at him, considering him a shallow and even stupid person.
Peter's appearance only adds color to the fire, since by nature he is a very extraordinary person, who does not have a beautiful appearance, nor a stately body, nor anything that could attract the attention of other characters to him.
It is worth noting that initially, even the author of this work himself conceived this hero as a comic character, and believed that in this way he could show the difference between all the heroes, between those who constantly worry and hold on to the past, and those who do not hold on to anything at all , while presenting yourself not in the best light.
An interesting point was the relationship between Petya and Anya, whom the author presented in the play as representatives of a new young society, however, you just need to delve a little deeper into the study of this play and it becomes clear that initially the image of Petya had completely different goals.
The image and characteristics of Petya Trofimov The Cherry Orchard
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The image of the “eternal student” Trofimov in A. P. Chekhov’s play “The Cherry Orchard”
A special place among the characters in the comedy “The Cherry Orchard” is occupied by Pyotr Trofimov. He is the former teacher of Ranevskaya’s drowned seven-year-old son, a commoner. His father was a pharmacist. Trofimov is twenty-six or twenty-seven years old, he is an eternal student, wears glasses and argues that one should stop admiring oneself and “just work.”
The hero beautifully preaches faith in the inevitable advent of a better future and personal freedom, because “humanity moves forward, improving its strength. Everything that is inaccessible to him now will someday become close and understandable, but he must work and help with all his might those who are seeking the truth.”
Trofimov denounces “dirt, vulgarity, Asianism,” criticizes the Russian intelligentsia, who for the most part do not seek anything and are not capable of work. Like Gaev, he is prone to declamation, without thinking that in the categoricalness of some of his judgments he is simply ridiculous.
Petya says about his relationship with Anya that it is higher than love: “To bypass those small and illusory things that prevent us from being free and happy - this is the goal and meaning of our life. Forward! We are heading uncontrollably towards the bright star that burns there in the distance!”
Again, like Gaev, Trofimov encourages Anya to believe him, because he has a presentiment of happiness.
Ranevskaya, not without reason, reproaches the hero for spiritual myopia when he, comforting her, says that it makes no difference whether the estate is sold or not. She accurately notices that Petya only talks and does nothing, he hasn’t even finished the course.
Repeating Firs’ favorite word, Ranevskaya calls Trofimov a klutz and a second-grade high school student.
To Lopakhin’s ironic question whether he will reach the “highest truth,” Trofimov confidently answers: “I will get there or I will show others the way to get there.”
In the finale, the hero is looking for forgotten galoshes, which become a symbol of his unsuccessful life, despite the beautiful words and inspiring pathos.
Student Petya Trofimov helps Anya in her spiritual growth, in determining her attitude towards the past, present and future of the Motherland. He opens her eyes to the dark, terrible thing that lurked behind the poetry of noble culture.
To begin to live in the present, you must first atone for the past, put an end to it. This is the pathos of the play. Trofimov calls Anya to the beauty of the future: “I have a presentiment of happiness, Anya, I already see it... Here it is, happiness, here it comes. He comes closer and closer, I can already hear his steps. And if we don’t see him, don’t recognize him, then what’s the harm? Others will see him!”
Petya Trofimov himself, by all indications, does not belong to the number of advanced, skillful, strong fighters for future happiness. In his entire appearance, we feel a certain contradiction between the strength, depth, scope of the dream and the weakness of the dreamer.
“Shabby gentleman,” Petya Trofimov is sweet, pure, but eccentric, intellectually absent-minded, insufficiently vital and not very capable of a great, persistent struggle. He has traits of “clumsiness” inherent in almost all the characters in this play. But still, Petya Trofimov is a qualitatively unique image.
Trofimov is involved in the revolutionary struggle - that’s why he is an “eternal student.”
Chekhov endowed Trofimov with some “funny” features of a “shabby gentleman” with clearly accusatory intentions, while Anya was presented in pale tones, as the most ordinary, “average” girl. “Anya and Trofimov... seem to be floating on some kind of ice floe, barely holding on to the shore, towards the waves...
without a clear program of life,” F. Batyushkov said about Chekhov’s heroes. They are average people. It is not such people who create the movement, but the movement that creates them.
This circumstance is very important, since it indicates the presence of a truly strong movement capable of capturing even such average individuals into its ranks.
Trofimov’s idealism, like Anya’s dreams, is somewhat vague: Lyubov Andreevna rightfully throws into his eyes the notorious word of Firs - “klutz”. This expression is becoming a classic. It applies to almost all the characters in Chekhov’s comedy and symbolizes the main idea of the work: that Russia needs people, not simple people, but active ones.
The figure of Trofimov is an indicator that the revolutionary movement was capturing ever wider strata; even representatives of the Trofimov-type intelligentsia joined it.
Just two or three years ago, Petya Trofimov was just a half-educated philosopher, a supporter of abstract dreams of a wonderful future, divorced from the struggle.
Now, on the threshold of the revolution, Petya Trofimov is already participating in the cause, the struggle, in one way or another.
But Petya Trofimov, as we found him in the play, is still “unfinished,” “half-baked.” Chekhov felt this, as well as the limitations of his own ideas about the people of the new Russia, the revolutionaries.
Hence his peculiar shyness in relation to Petya, the desire to reduce him, to deprive him of his claims to be a figure of heroic proportions.
But everything that Petya told Anya about the past and the future, about work, struggle - all this is near and dear to the author.
The image of Trofimov in the play The Cherry Orchard Literature Help
The last play by A.P. Chekhov was completed in 1903. The work is based on the theme of the socio-historical development of Russia at a turning point, at the junction of the “old” and “new” centuries.
The change of owners of the cherry orchard is a kind of symbol of this process.
However, the writer is not interested in the conflict between the former and new owners of the cherry orchard, but in the collision of the past and present of Russia, the emergence of the future in this process.
The Cherry Orchard is the central image in the play. He personifies the Motherland, Russia, its wealth, beauty, poetry. Each character has his own perception of the garden, his own attitude towards it. The image of the garden reveals the spiritual capabilities of each of the characters. Petya Trofimov points the way to the revival of harmony in man and in the world around him.
Pyotr Sergeevich Trofimov is a commoner, the son of a pharmacist. He is a student at Moscow University and calls himself an “eternal student.” The hero is almost thirty years old, but he still has not completed the course. There is a hint in the play that Petya is expelled from the university not for his academic performance, but for his revolutionary, i.e., anti-government activities.
Trofimov is poor, suffering hardships: “Like winter, I am hungry, sick, anxious, poor, like a beggar...” He has no home, family, he is lonely: “... I have already endured so much!... Wherever fate has driven me, where I just wasn’t!” Despite hunger and illness, Trofimov resolutely refuses to live at someone else’s expense or borrow money.
He proudly declares to Lopakhin: “I am a free man. And everything that you, rich and poor, value so highly and dearly, does not have the slightest power over me...” Trofimov lives by his labor: “he received money for the transfer”; he is smart, educated. Many of his judgments are true and deep.
Trofimov preaches socialist ideology: the student is not satisfied with the type of existence of the nobles depicted in the play.
In the eyes of the commoner, the main drawback of Gaev and Ranevskaya is inactivity, lordship, and the habit of living off the labor of others. Trofimov sharply condemns the past, violence against the individual. The student angrily declares that the cherry orchard is a symbol of slavery, that tortured “human beings” look at him from every tree.
The former owners of living souls, according to Trofimov, must atone for the past only through “extraordinary, continuous labor.” The student does not accept plans to reorganize Russian life in a bourgeois way. He condemns Lopakhin as a businessman who does not have a broad view of the problems of the entire country.
The consumer attitude towards nature, the riches of the surrounding world, the pursuit of profit, receives a precise definition in the student’s interpretation. He tells Lopakhin: “... you are a rich man, you will soon be a millionaire. Just as in terms of metabolism we need a predatory beast that eats everything that gets in its way, so we need you.”
Trofimov advises the merchant not to wave his arms, predicts the short duration of his stay, as he sees the predatory essence of capitalism. Trofimov is concerned about the fate of the intelligentsia, he reflects on its role in the reorganization of Russia, denounces the idleness of the “philosophers”: “The vast majority of the intelligentsia that I know is not looking for anything, not looking for anything...
does it and is not yet capable of work.” The student is full of faith in a new life. “Humanity is moving towards the highest truth, towards the highest happiness that is possible on earth, and I am in the forefront!” However, Chekhov treats the high pathos of Petit’s speeches and calls ironically.
It is no coincidence that Trofimov’s fiery words are interrupted either by Epikhodov’s guitar playing or by the sound of an ax on wood. The author sees a certain one-sidedness even in many of Trofimov’s fair judgments.
For student Trofimov, the cherry orchard is the embodiment of the serf way of life: “Think, Anya, your grandfather, great-grandfather and all your ancestors were serf owners who owned living souls...” Trofimov does not allow himself to admire the beauty of the garden, parts with it without regret and instills in young Anya such same feelings.
Chekhov shows traits in the hero that bring him closer to the life attitude of Gaev and Ranevskaya. He often utters too loud, abstract general phrases: “We are moving uncontrollably towards a bright star. “The author sometimes puts Trofimov in a comical position: Petya falls down the stairs, constantly looking for old galoshes.
Definitions and characteristics: “clean”, “funny freak”, “klutz”, “shabby gentleman” reduce the image of Trofimov and cause ridicule. Awkward, clumsy, unkempt Petya evokes condescending pity for himself. “Glasses”, “thin hair” - these details complement the portrait of the “eternal student”.
Petya's passion for ringing phrases, teachings, absent-mindedness, and categorical judgments complicate his relationships with others. Varya tells him: “A student needs to be smart.” Petya declares: “We are above love.” This statement emphasizes the moral inferiority and underdevelopment of the hero.
It is no coincidence that Ranevskaya tells him: “You are not above love, but simply, as our Firs says, you are a klutz.” Trofimov does not look like a hero. The definition-characteristic “eternal student” contains the idea that Petya cannot be worthy of the cherry orchard.
Its role is to awaken the consciousness of young people who themselves will look for ways to fight for the future. Therefore, Anya enthusiastically absorbs Trofimov’s ideas. She does not set herself the goal of marrying a rich man; she strives for higher ideals.
Trofimov’s judgments contain a positive principle, his life can evoke respect to some extent, but he is only able to show the way, and he himself remains an “eternal student.” The present time, according to Chekhov, requires not exclamations and delight, not a complete denial of the past, but actions and decisions to save beauty and spirituality.
The “eternal student” Petya Trofimov is portrayed by Chekhov with sympathy and respect. This is a selfless and selfless person who preaches new ideas. Typical in this regard is Trofimov’s speech, a distinctive feature of which is the abundance of scientific and political terms.
His words: rich and poor, workers, serf owners, labor, truth, philosophize and others - reveal the direction of his thoughts. His speech is emotionally charged, excited, with rhetorical appeals: “Believe me, Anya, believe me!”, “Forward! Don't lag behind, friends! and etc.
But, despite all the positive qualities of Trofimov, Chekhov doubts the ability of such people to build a new life - they are very one-sided, “no life of the heart.”
Characteristics of the play “The Cherry Orchard” | Infoschool
A.P. Chekhov. "The Cherry Orchard". General characteristics of the play. Analysis of the third act.
Chekhov brings everyday life to the stage - without effects, beautiful poses, or unusual situations. He believed that in the theater everything should be as simple and at the same time complex as it is in life. In everyday life he sees both beauty and significance. This explains the unique composition of his dramas, the simplicity of the plot, the calm development of the action, the lack of stage effects, and the “undercurrent.”
“The Cherry Orchard” is the only play by Chekhov in which one can see, although not quite clearly, a social conflict. The bourgeoisie is replacing the doomed nobility. Is it good or bad? An incorrect question, says Chekhov. It is a fact.
“What I came out with was not a drama, but a comedy, sometimes even a farce,” wrote Chekhov. According to Belinsky, comedy reveals how much real life has deviated from the ideal.
Wasn't this Chekhov's task in The Cherry Orchard? Life, beautiful in its possibilities, poetic, like a blooming cherry orchard - and the powerlessness of the “klutzes” who are unable to either preserve this poetry, or break through to it, to see it.
The peculiarity of the genre is lyrical comedy. The characters are drawn by the author with slight mockery, but without sarcasm, without hatred. Chekhov's heroes are already looking for their place, but have not yet found it; all the time they are on stage they are going somewhere. But they can never get it together.
The tragedy of Chekhov's heroes comes from their lack of rootedness in the present, which they hate, which they fear. Authentic life, real, seems alien to them, wrong.
They see a way out of the melancholy of everyday life (and the reason for it still lies in themselves, so there is no way out) in the future, in the life that should be, but which never comes. Yes, they don’t do anything to make it happen.
One of the main motives of the play is time. It starts with a late train, ends with a missed train. And the heroes don’t feel that time has changed. She entered the house, where (as it seems to Ranevskaya) nothing changes, and devastated and destroyed it. The heroes are behind the times.
The image of the garden in the play “The Cherry Orchard”
Composition of “The Cherry Orchard”: Act 1 - exposition, Ranevskaya’s arrival, the threat of loss of the estate, the exit offered by Lopakhin. Act 2 - senseless waiting for the owners of the garden, Act 3 - sale of the garden, Act 4 - departure of the previous owners, new owners taking possession, cutting down the garden. That is, Act 3 is the climax of the play.
The garden must be sold. He is destined to die, Chekhov insists on this, no matter how he feels about it. Why this will happen is shown quite clearly in Acts 1 and 2. The task of Act 3 is to show how.
The action takes place in the house, the stage directions introduce the viewer to the party that was discussed in Act 2.
Ranevskaya calls it a ball and very accurately defines that “we started the ball at the wrong time” - from Petya’s words the viewer learns that it was at this time that auctions take place at which the fate of the estate is decided.
Therefore, the mood of this scene is a contrast between external well-being (dancing, magic tricks, optional “ballroom” conversations) and the atmosphere of melancholy, bad feeling and about-to-ready hysteria.
How does Chekhov create this atmosphere? The idiotic speeches of Simeonov-Pishchik, to which no one reacts, as if this is how it should be, every now and then the conversations of the owners of the house about their sad things break through, as if they have no time for guests.
When the unnecessary ball fizzles out, Gaev and Lopakhin appear with a message about the sale of the estate.
Lopakhin’s “performance” in his new role leaves a complex, rather difficult impression, but the act ends on an optimistic note - with Anya’s remark addressed to Ranevskaya: “Mom, you have life left...” There is a meaning in this optimism - the most unbearable thing for the heroes of the play (choice , the need to decide and take responsibility) is behind us.
What new do we learn about the heroes in Act 3?
Ranevskaya.
It turns out that she is not only capable of infuriating with her impracticality, she is also not stupid. It seems that at this ball she woke up - sensible remarks about the Yaroslavl grandmother, about what the cherry orchard is for her.
In a conversation with Petya, she is even wise, very accurately determines the essence of this person, and without pretense or playing with herself, she talks about herself and her life.
Although, of course, she remains herself - she speaks truthful words to Petya in order to hurt someone else, because she herself is hurt.
But in general this is the peak of her reflection of life; already at the very beginning of Act 4 she will continue to play like an actress for whom only her own role is important and the entire play is inaccessible. And now she accepts the news of the sale of the estate not courageously, but with dignity, without play; her grief is genuine and therefore ugly: “She shrank all over and cried bitterly.”
Gaev.
He is almost absent from this act, and we learn nothing new about him. All he can say is: “How much I have suffered!” - in general, again “I”. It is very simple to console him in grief - with the sound of billiard balls.
Lopakhin.
This is a surprise. Until now we knew him as a good friend of this family, which did not deserve such a friend. He was more worried about saving the cherry orchard than all these fools combined.
And the thought did not arise that he himself wanted to buy the garden, that for him this was not just another transaction, but an act of triumph of justice. Therefore, now his honesty is worth more.
We also didn’t know about him that he was capable of getting carried away, forgetting himself, rejoicing to the point of madness, he was so even and calm until now. And what kind of “genetic” hatred does he have for his former masters - not personally for Gaev and Ranevskaya, but for the class: “...Grandfather and father were slaves,..
they weren’t even allowed into the kitchen...” And he’s also weak, because he thinks about life: “If only our awkward, unhappy life would somehow change...”, but it’s not enough to think about it: “Let everything be as I wish!”
Petya Trofimov.
He is here more than before, a vulnerable child - he teases Varya, boasts that he is “above love,” is unable, in principle, to understand the truth about himself, pities Ranevskaya to the point of tears, falls down the stairs, etc.
It only really shows up in the last line, but it’s very mature. She offers her mother a real psychological way out - her love (in each of her sentences there are several affectionate words) and the realization that the cherry orchard is lost and, therefore,... There is no longer any need to languish in the unknown and make decisions.
Characteristics of the image of Petya Trofimov in the play “The Cherry Orchard” by Chekhov » Essay on EraInfo.ru
It is difficult not to notice the somewhat ironic attitude towards Trofimov, both on the part of the author and on the part of the characters in the play. “Klutz” is what Ranevskaya, who is usually condescending towards people, calls Petya, and Lopakhin mockingly adds: “Passion, how smart!”
Other definitions applied to this hero further aggravate the picture: “funny freak”, “clean”, “shabby gentleman”... Petya is awkward, ugly (and, according to his own statement, does not want to appear so at all), he has “thin hair ", in addition, he is absent-minded. This description contrasts sharply with the romantic image that arises after reading his speeches.
But these speeches, upon careful analysis, begin to confuse with their categoricalness, moralizing and at the same time - an absolute misunderstanding of the current life situation.
Let us pay attention to the fact that Trofimov’s pathetic speeches are constantly interrupted throughout the play. Either they will knock with an ax, then Epikhodov will play the guitar, then he will call out to Anya Varya, who has listened (this, by the way, will cause genuine indignation in Petya: “This Varya again!”) ... So Chekhov gradually conveys his attitude towards what Petya says: these are not viable things afraid of the manifestations of ordinary life.
Another unpleasant feature in Trofimov is his ability to see “only dirt, vulgarity, Asianness” in everything. Surprisingly, admiration for Russia, its “immense fields and deepest horizons” comes from the lips of the seemingly limited merchant Lopakhin.
But Petya talks about “moral impurity”, about bedbugs and only dreams of a bright future, not wanting to see the present. The beauty of the main image-symbol in the play also leaves him indifferent. Trofimov doesn’t like the cherry orchard.
Moreover, he does not allow young Anya, whose soul still responds very reverently to beauty, to love him. But for Petya, the garden is exclusively the embodiment of serfdom, which should be gotten rid of as soon as possible.
It doesn’t even occur to him that Anya spent her childhood in this garden, that it might hurt her to lose him - no, Petya is completely captivated by his ideas and, as often happens with this kind of dreamer, he doesn’t see the living people behind them.
And what about Petya’s contemptuous statement that he is “above love.” This phrase, with which he wanted to show his superiority, perfectly reveals the opposite - the moral, spiritual underdevelopment of the hero.
If he had been an internally holistic, formed personality, he would have been forgiven for his awkwardness and awkwardness, just as illiteracy is forgiven for Lopakhin with a “broad soul.” But Petya’s dryness betrays his moral inconsistency.
“You are not above love, but simply, as our Firs says, you are a klutz,” Ranevskaya tells him, who, due to her sensitivity, immediately figured out Petya. It is curious that Petya, who protests against the old way of life and any forms of ownership, nevertheless does not hesitate to live at Ranevskaya’s estate and partly at her expense.
He will leave the estate only with its sale, although at the beginning of the play he suggests to Anya to throw the keys to the farm into the well and leave. It turns out that even with his own example, Trofimov is not yet ready to confirm his ideas.
“I will show others the way”...
Of course, Pete also has some nice traits. He himself speaks bitterly about himself: “I’m not yet thirty, I’m young, I’m still a student, but I’ve already endured so much! And yet... I have a presentiment of happiness, Anya, I already see it...”
And at this moment, through the mask of a builder of a bright future, a real person looks through, wanting a better life, who knows how to believe and dream.
His undoubted diligence also deserves respect: Petya works, receives money for translations and consistently refuses the favor offered by Lopakhin: “I am a free man! And everything that you all value so highly and dearly, rich and poor, does not have the slightest power over me, it’s like fluff that floats through the air.” However, the pathetic nature of this statement is somewhat disturbed by the galoshes Varya threw onto the stage: Trofimov lost them and was quite worried about them... The characterization of Petya from “The Cherry Orchard” is essentially all concentrated in these galoshes - all the pettiness and absurdity of the hero is clearly manifested here.
Trofimov is more of a comic character. He himself understands that he is not created for happiness and it will not reach him. But it is he who is entrusted with the important role of showing others “how to get there,” and this makes him indispensable - both in the play and in life.
“The Eternal Student” Petya Trofimov in Chekhov’s play “The Cherry Orchard” on Seznayka.ru
Students have always been the leading part of society. Because, firstly, these are young people, full of strength, confidence in their rightness and in the possibility of transformation.
Secondly, these are studying youth, that is, people who are destined to daily expand their knowledge and come into contact with new things in science, philosophy, and art. All this makes a person think, decide something, constantly move forward and fight against the obsolete and outdated.
It is not without reason that students are quite widely represented in Russian literature. This is the nihilist Bazarov, who denied art, love, beauty - “emotion” and believed only in science - “ration”. These are Chernyshevsky’s “new” and “special” people: “reasonable” egoists Lopukhov, Kirsanov, Rakhmetov.
This is the conscientious murderer Rodion Raskolnikov, who created his monstrous theory, as if he really responded to Herzen’s call: “Call Rus' to the axe.”
All of them are representatives of the revolutionary democratic youth of the late 50s - mid 60s. Pyotr Sergeevich Trofimov is a representative of the student body of the early 20th century. A young man in a “worn uniform, glasses,” an “eternal student,” as Varya calls him.
Twice he was expelled from the university - hardly for academic debt, but rather for participation in some revolutionary circle, for propaganda activities or participation in student demonstrations. “I’m not yet thirty, I’m young, I’m still a student, but I’ve already endured so much!..
Wherever fate has driven me, wherever I have been!” Almost all of Petya’s life remained “behind the scenes”; apparently, due to censorship reasons, Chekhov could not say much. But there is a lot of what has been written about to judge Petya’s views, opinions, and his activities.
Petya is by no means a liberal idle talker, but a man of action (although we do not directly see this in the play), advocating for radical changes. Unlike Ranevskaya, Gaev and others, he knows why he lives and what he will do.
“I must be an eternal student,” says Trofimov. And this means not only that he will be expelled from the university more than once. This means that he will still have a lot to learn. This means that “student” is a kind of title for him, personifying everything young, progressive and struggling.
But Ranevskaya is living out the present. She has no future. Together with the garden, she loses the last thing that connects her with the past, better part of her life. She has no prospects.
The only thing that remains for her is to ask Petya: “Have pity on me, good, kind man,” and Trofimov takes pity on this sweet, weak-willed woman who has lost her son, lost her property, and loves, in general, an insignificant person.
Petya sympathizes with her, which does not prevent him from telling Ranevskaya: “... there is no turning back, the path is overgrown. Calm down, darling!
Petya's relationships with other characters are interesting. Petya is smart, understanding, sensitive to the soul of another person, always able to give an accurate assessment of events and people. He aptly characterizes Lopakhin: “... you are a rich man, you will soon be a millionaire. Just as in terms of metabolism we need a predatory beast that eats everything that gets in its way, so we need you.”
When leaving, he advises Lopakhin to give up the habit of waving his arms. Only he feels the subtle, gentle soul of the merchant falling asleep over a book, notices his fingers, as tender as those of an artist. Petya comes to Ranevskaya’s estate because of Anya. He lives in a bathhouse, afraid to embarrass the owners.
Only deep affection for the girl makes him be here.
Otherwise, what could he have in common with the owners of the estate put up for auction? However, Petya claims that they are “above love,” and is angry with Varya, who is watching them: “What does she care? And besides, I didn’t show it, I’m so far from vulgarity.” What is this paradox? No, of course not.
In his remarks, he tries to express his protest against love as the personification of “petty,” “ghostly,” “vulgar” feelings and his conviction that a person who has taken the path of struggle must give up personal happiness (this is already something Bazarovsky).
But still, this is just a touch of youthful maximalism and naivety. And Petya’s feelings are much stronger and deeper than he is trying to prove to himself.
Petya's influence on Anya is undeniable. It is interesting that in conversations with Anya some lecturer notes emerge (probably, he still often had to engage in lecturing activities). It is interesting that Petya is often called a “funny person”, “funny eccentric”, “klutz”.
Why? It seems to me that Ranevskaya sometimes, fearing Trofimov’s judgments, seeing that he is right and trying to somehow defend himself, calls him ridiculous, since she simply has no other arguments for the argument. (Here you can draw an analogy somewhere with Chatsky, who was declared crazy from fear that he was right, from powerlessness to resist him.
) On the other hand, in order not to make Petya too dry, a proper person, Chekhov may have specifically emphasized his certain naivety and angularity. Or maybe for censorship reasons, so as not to make him a central figure. After all, he and Anya are a living bridge between the past and the future.
He is the personification of this incomprehensible future, unknown to him or its author, purified from exploitation and purified by suffering and labor. Off stage, he is apparently not so lonely if he uses “we” instead of “I”.
He believes in his star and in the star of his Russia: “Forward! We are moving uncontrollably towards the bright star that is burning there in the distance! Forward! Don't lag behind, friends! He lives not so much with a real faith in the future as with a dream. And a “beautiful dream” is always unclear. Especially in Russia.
School essays
Chekhov allegedly treated Petya Trofimov ironically, portrayed him as a “klutz” and thereby expressed his skeptical attitude towards the revolutionary movement. This opinion is completely unfounded. In order to understand this, you need to remember who and under what circumstances called Petya a “klutz.”
This is what Ranevskaya says, irritated that Petya openly expressed disapproval of her relationship with an insignificant and dishonest person.
Ranevskaya is not able to understand Petya’s moral height, but she feels that Petya is right, and she herself asks for his forgiveness: “Well, Petya... well, a pure soul... I ask for forgiveness... Let’s go dance...” Yes, Petya is a pure soul, and therefore, to people like Ranevskaya or Lopakhin, he should seem like a loser, a “klutz.” But the same opinion cannot be attributed to the author.
It also cannot be considered that such episodes as falling down the stairs, losing galoshes, etc., reduce Petya’s image and bring him closer to Epikhodov with his “twenty-two misfortunes.” Everyday little things do not discredit Petya at all, but only make his image more alive and natural. If we talk about comparison with Epikhodov, then here, rather, one can see a contrast.
Epikhodov is stupid, this stupidity shows in his every word, his actions only complement this impression. And Petya is smart, his thoughts are deep and meaningful. It is not for nothing that Chekhov, the greatest master of subtext, never interrupts Trofimov’s speech.
They always listen to Petya with attention, his words have an ennobling effect on other people. Even the practical Lopakhin, under the influence of Petya, begins to feel that life should be more beautiful, cleaner. What views does Petya express in the play? He believes in progress and...
calls on everyone to “work and help with all our might those who seek the truth.”
He does not understand the truth in an abstract way and condemns those intellectuals whose philosophical search for truth coexists with indifference to the hard life of the people: “They call themselves intellectuals, but say “you” to the servants, they treat men like animals, they study poorly, they don’t read anything seriously. , they do absolutely nothing, they only talk about science, they understand little about art. Everyone is serious, everyone has stern faces, everyone talks only about important things, philosophizes, and yet in front of everyone the workers eat disgustingly, sleep without pillows, thirty, forty in one room, there are bedbugs everywhere, stench, dampness, moral impurity... And, obviously, all the good conversations we have are just to avert the eyes of ourselves and others.”
Trofimov despises money, despises titles, for him there is no difference in the rank and position of people.
He, whom others look at with ridicule and pity, calling him a “shabby gentleman,” feels like a strong and free person, belonging to those who strive for the highest truth and the highest happiness of humanity. For Petya, it doesn’t matter whether he himself reaches a bright future or only shows the way to others.
Chekhov wrote to O. L. Knippsr that he could not show Petya Trofimov as a public figure in the play: “After all, Trofimov is constantly in exile, he is constantly expelled from the university, but how do you portray these things?” A hint of the persecution to which Petya was subjected is contained in his words: “...wherever fate has driven me, wherever I have been!”
Petya Trofimov’s sermon lights up Anya. She is only 17 years old, she is naive and simple-minded. Chekhov wrote to Vl. I. Nemirovich-Danchenko that “Anya can be played by anyone, even a completely unknown actress, as long as she is young, looks like a girl, and speaks in a young, ringing voice. This role is not an important one.”
Anya has not yet formed as a person, and it is too early to talk about her views and beliefs. Anya's role in the play is that she personifies youth, purity, and sincerity. Her soul, free from selfish calculations, is open to everything beautiful and noble. Anya was lucky that she met Petya Trofimov on her life’s path.
She listens to Petya with delight. Decisively breaking with the past, without regret saying goodbye to the cherry orchard, in which tortured human beings look at her from every cherry, from every leaf, Anya boldly goes towards a new life. “All of Russia is our garden,” Petya Trofimov tells her.
And this one; a large garden - a renewed Russia is what Anya means when she addresses her mother: “We will plant a new garden, more luxurious than this...”
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Petya Trofimov - an eternal student (about the play “The Cherry Orchard” by A.P. Chekhov)
The controversy about Pete Trofimov began a long time ago - from the moment “The Cherry Orchard” appeared on stage and in print. The outstanding humanist writer Korolenko, for example, treated Petya with considerable suspicion: “...for me, the shabby “better future” is something incomprehensible and unnatural.”
And the Bolshevik critic V.V. Borovsky saw in Trofimov an advanced representative of the younger generation, capable of fighting a hostile environment.
Here's another clash of opinions that should prompt you to either take sides or develop your own point of view. So, what do you think about Pete, about his views, position, attitude towards other characters in the play?
Almost every hero of “The Cherry Orchard” has their stellar moments, when they seem to soar upward and turn out to be exponents of high and noble ideas that are actually close to the author.
Petya Trofimov also has his ups, but he also has his downs. In this regard, the episode in the third act is significant, when Petya fell from the stairs: he wanted to climb up, higher than the others - and fell and rolled down.
“High” and “low”, serious and funny in the image of Petya are fused together.
His speeches sound strong and convincing when he talks bitterly about the hard life of the workers and reproaches the intelligentsia for inaction. But Chekhov fundamentally avoids clear-cut decisions. Perhaps this was especially clear in his portrayal of Petit.
It would seem that the writer’s task was to evoke in the audience a feeling of sympathy for the image of a democratic student who was repeatedly persecuted for his beliefs, proud in his poverty, honest and principled in exposing the past, a herald of better times, calling for tireless work in order to bring a wonderful future closer .
All this is true, but the range of Petya Trofimov’s fluctuations is too large.
In some strange way, admiration for abstract humanity, which moves forward, and contempt for concrete people, calls for work and his own idleness for six months on the Ranevskaya estate, unbridled optimism and a gloomy statement of universal depravity, and hence - lack of faith in man: “The vast majority of him are rude, unintelligent, deeply unhappy.” Isn't the last circumstance connected with the fact that Petya himself is extremely dissatisfied with himself in his soul? Life passes, and he, in fact, did not manage to do anything. After a long separation, Ranevskaya sadly says to him: “What, Petya? Why are you so stupid? Why have you aged?” - to which Trofimov replies: “One woman in the carriage called me this: shabby gentleman.”
And one more important circumstance. From the list of characters we learn Trofimov’s patronymic: “Peter Sergeevich.” But in the play only Dunyasha, the maid, calls him that. Everyone else calls him by his diminutive name - Petya.
For example, Ranevskaya addresses Lopakhin exclusively by his first and patronymic names.
But student Trofimov, the former teacher of Ranevskaya’s deceased son, remained in the eyes of the estate’s inhabitants as a smart boy, overly prone to fruitless philosophizing and abstract conversations.
Petya and Gaev, two obvious and undoubted antagonists, have one unifying feature: the inappropriateness of their speeches. What they say is actually sometimes both serious and smart, but, as a rule, they choose the most inopportune time for their speeches.
Either Gaev begins to talk to the sexes in a restaurant about decadents, then Petya, left alone with Anya, makes a speech as if he were speaking at a rally in front of a large crowd of like-minded people: “Forward! We are moving uncontrollably towards the bright star that is burning there in the distance! Forward! Don't lag behind, friends!
And Anya, throwing up her hands, exclaims: “How well you speak!” As we see, the author’s irony can be felt in plays as well.
And one more aspect that helps us better understand the author’s assessment of Petya Trofimov. This is love, which has always been a serious test for Chekhov's heroes. How did the “eternal student” cope with this test?
Didn’t it seem to you that Petya Trofimov loves Anya with a tender and reverent love? It is no coincidence that at the end of the first act the excited words of a young man are heard after Anya: “My sunshine! My spring!”
But in the future there is no talk of love, so it was completely in vain that Varya watched the young couple so vigilantly. And the indignant Petya exclaims: “What does she care? And besides, I didn’t show it, I’m so far from vulgarity. We are above love!”
These words compromise Petya almost more than a fall from the stairs and old galoshes. What kind of vulgarity are we talking about, exactly? Is love really vulgarity for him?
This is how Petya’s limitations are manifested, at least in the area of human feelings. It is quite natural that he is not able to understand the human grief of Lyubov Andreevna, who trustingly reveals her soul to him. How much she suppresses him in a conversation with Petya with her humanity, sincerity, and vulnerability. Compared to her, Petya in this scene is somehow closed and insensitive.
Ranevskaya’s name is Lyubov, Trofimov’s name is Peter, which means “stone”. Petya has no real human sympathy for the suffering and torment of another person. He ascended “above love,” but in fact this means that he strives to place himself above the cherry orchard, and above beauty (“I don’t want to be handsome”), and in general above all people.
Finally, Petya Trofimov’s attitude towards the cherry orchard is very important. For Petya, the cherry orchard is a sign of an alien, hostile culture; this is the past that must be put to rest by destroying it: this will be the atonement for old sins.
And naive Anya trustingly accepts Petya Trofimov’s logic: “What have you done to me, Petya, why don’t I love the cherry orchard as before? I loved him so tenderly, it seemed to me that there was no better place on earth than our garden.”
The danger of Petya Trofimov’s preaching is great. From the standpoint of existing historical experience, we know what serious consequences calls for the destruction of beauty on earth can lead to.
True, Petya and Anya, instead of the old garden, the fate of which does not cause them the slightest regret, willingly talk about a new one, even more luxurious and beautiful. Consoling the sobbing Lyubov Andreevna, Anya promises her: “We will plant a new garden, more luxurious than this.”
Of course, Anya does not think at all about the practical implementation of her speeches.
She simply has an emotional, enthusiastic hope for a wonderful future, which, as it seems to Anya, is already very close and which is very easy and simple to build. Too easy, too simple...
And isn’t this another lesson of the play - a warning important not only for the democratic youth of the early 20th century, but also for subsequent generations?
One schoolgirl was asked: what is the connection between Chekhov’s play and today? What surprised and excited her most? She replied: “Petya, first of all. I'm a little like Petya. She is also categorical in her judgments.
The performance stops: stop, look around, think about what we are cutting, what we are doing. Petya and Anya - they have no base, just like us. We are among those who run forward.
The most important thing is supposedly ahead, but behind it, it turns out, is a cherry orchard!”
Petya Trofimov is one of the characters in the play “The Cherry Orchard,” a former teacher of Ranevskaya’s seven-year-old son, a commoner of about 26 or 27 years old. Many call him an “eternal student” and a “school student” because he studies all the time and never finishes the course. Petya wears glasses and likes to philosophize about how to live. In his opinion, the nobility is a thing of the past. They were too lazy, and now the time has come for hard-working youth.
Trofimov wanders a lot from place to place. For the duration of the actions taking place in the play, he lives on Ranevskaya’s estate, in a bathhouse, so as not to embarrass anyone. Ranevskaya's daughter, Anya, is in love with Petya and believes his every word. He often criticizes the idle intelligentsia, and considers himself to be a “new” working generation. In fact, he himself is a representative of the intelligentsia, but he does not notice this. He also talks beautifully and a lot, but does nothing. He only likes to show the way how to get to the truth. Ane promises a better future and encourages him to believe in him, because he feels that happiness is somewhere close. Ranevskaya does not like this character, she says that at his age you should not study, but already fall in love. At the same time, he adds that he is a klutz and a second-grade high school student.
At the end of the play, Petya is looking for his forgotten galoshes, which convey the worthlessness of his life, decorated with beautiful words.
The controversy about Pete Trofimov began a long time ago - from the moment “The Cherry Orchard” appeared on stage and in print. The outstanding humanist writer Korolenko, for example, treated Petya with considerable suspicion: “...for me, a shabby “better future” is something incomprehensible and unnatural.”
And the Bolshevik critic V.V. Borovsky saw in Trofimov an advanced representative of the younger generation, capable of fighting a hostile environment.
Here is another clash of opinions that should prompt you to either take sides or develop your own point of view. So, what do you think about Pete, about his views, position, attitude towards other characters in the play?
Almost every hero of “The Cherry Orchard” has their stellar moments, when they seem to soar upward and turn out to be exponents of lofty and noble ideas that are actually close to the author. Petya Trofimov also has his ups, but he also has his downs. In this regard, the episode in the third act is significant, when Petya fell from the stairs: he wanted to climb up, above the others - and fell and rolled down. “High” and “low”, serious and funny in the image of Petya are fused together.
His speeches sound strong and convincing when he talks bitterly about the hard life of the workers and reproaches the intelligentsia for inaction. But Chekhov fundamentally avoids clear-cut decisions. Perhaps this was especially clear in his portrayal of Petya. It would seem that the writer’s task was to evoke in the audience a feeling of sympathy for the image of a democratic student who was repeatedly persecuted for his beliefs, proud in his poverty, honest and principled in exposing the past, a herald of better times, calling for tireless work for the sake of bringing a wonderful future closer.
All this is true, but the range of Petya Trofimov’s fluctuations is too large. In some strange way, admiration for abstract humanity, which moves forward, and contempt for concrete people, calls for work and his own idleness for six months on the Ranevskaya estate, unbridled optimism and gloomy observation coexist in him. general depravity, and hence a lack of faith in man: “The vast majority of him are rude, stupid, deeply unhappy.” Isn't the last circumstance connected with the fact that Petya himself is extremely dissatisfied with himself in his soul? Life passes, and he, in fact, did not manage to do anything. After a long separation, Ranevskaya sadly says to him: “What, Petya? Why are you so stupid? Why have you aged? - to which Trofimov replies: “One woman in the carriage called me this: shabby gentleman.”
And one more important circumstance. From the list of characters we learn Trofimov’s middle name: “Peter Sergeevich.” But in the play only Dunyasha, the maid, calls him that. Everyone else calls him by his diminutive name - Petya. For example, Ranevskaya addresses Lopakhin exclusively by his first name and patronymic. But student Trofimov, the former teacher of Ranevskaya’s deceased son, remained in the eyes of the estate’s inhabitants as a smart boy, overly prone to fruitless philosophizing and abstract conversations.
Petya and Gaev, two obvious and undoubted antagonists, have one unifying feature: the inappropriateness of their speeches. What they say is actually sometimes both serious and smart, but, as a rule, they choose the most inopportune time for their speeches. Either Gaev begins to talk to the sexes in a restaurant about decadents, then Petya, left alone with Anya, makes a speech as if he were speaking at a rally in front of a large crowd of like-minded people: “Forward! We are moving uncontrollably towards the bright star that is burning there in the distance! Forward! Don't lag behind, friends!
And Anya, throwing up her hands, exclaims: “How well you speak!” As we see, the author’s irony is also palpable in plays.
And one more aspect that helps us better understand the author’s assessment of Petya Trofimov. This is love, which has always been a serious test for Chekhov's heroes. How did the “eternal student” cope with this test?
Didn’t it seem to you that Petya Trofimov loves Anya with a tender and reverent love? It is no coincidence that at the end of the first act the excited words of a young man are heard after Anya: “My sunshine! My spring!
But in the future there is no talk of love, so it was completely in vain that Varya watched the young couple so vigilantly. And the indignant Petya exclaims: “What does she care? And besides, I didn’t show it, I’m so far from vulgarity. We are above love!
These words compromise Petya almost more than a fall from the stairs and old galoshes. What kind of vulgarity are we talking about, exactly? Is love really vulgarity for him?
This is how Petya’s limitations are manifested, at least in the area of human feelings. It is quite natural that he is not able to understand the human grief of Lyubov Andreevna, who trustingly reveals her soul to him. How much does she suppress him in a conversation with Petya with her humanity, sincerity, and vulnerability. In comparison with her, Petya in this scene is somehow closed and insensitive.
Ranevskaya’s name is Lyubov, Trofimov’s name is Peter, which means “stone.” Petya has no real human sympathy for the suffering and torment of another person. He ascended “above love,” but in fact this means that he strives to place himself above the cherry orchard, and above beauty (“I don’t want to be handsome”), and in general above all people.
Finally, Petya Trofimov’s attitude towards the cherry orchard is very important. For Petya, the cherry orchard is a sign of a foreign, hostile culture; it is the past that must be dealt with by destroying it: this will be the atonement for old sins.
And naive Anya trustingly accepts Petya Trofimov’s logic: “What have you done to me, Petya, why don’t I love the cherry orchard as much as before? I loved him so tenderly, it seemed to me that there was no better place on earth than our garden.” Material from the site
The danger of Petya Trofimov’s preaching is great. From the standpoint of existing historical experience, we know what serious consequences calls for the destruction of beauty on earth can lead to.
True, Petya and Anya, instead of the old garden, the fate of which does not cause them the slightest regret, willingly talk about a new one, even more luxurious and beautiful. Consoling the sobbing Lyubov Andreevna, Anya promises her: “We will plant a new garden, more luxurious than this.”
Of course, Anya does not think at all about the practical implementation of her speeches. She simply has an emotional, enthusiastic hope for a wonderful future, which, as it seems to Anya, is already very close and which is very easy and simple to build. Too easy, too simple... And isn’t this another lesson of the play - a warning important not only for the democratic youth of the early 20th century, but also for subsequent generations?
One schoolgirl was asked: what is the connection between Chekhov’s play and today? What surprised and excited her most? She replied: “Petya, first of all. I'm a little like Petya. She is also categorical in her judgments. The performance stops: stop, look around, think what we are cutting, what we are doing. Petya and Anya - they have no base, just like us. We are among those who run forward. The most important thing is supposedly ahead, but behind us, it turns out, is a cherry orchard!”
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On this page there is material on the following topics:
- Petya Trofimov's attitude to the cherry orchard
- Petya and Anya in the play The Cherry Orchard
- Trofimov Petr Sergeevich
- Why doesn’t Petya like the cherry orchard?
- Trofimov from the Cherry Orchard
Characteristics of the literary hero Petya Trofimov is the former teacher of Ranevskaya’s deceased son, a commoner of 26 or 27 years old.
T. is an eternal student who never finishes the course. Fate throws him from place to place. This hero preaches faith in a better future. To do this, in his opinion, “we must work and help with all our might those who are seeking the truth.”
T. scolds everything that slows down the development of Russia - “dirt, vulgarity, Asianism”, criticizes the Russian intelligentsia, which does not look for anything and does not work. But the hero does not notice that he himself is a bright representative of such an intelligentsia: he only speaks beautifully, without doing anything. A characteristic phrase for T.: “I will reach or show others the way to reach” (to the “highest truth”). T. denies love, considering it something “petty and illusory.” He only urges Anya to believe him, as he anticipates happiness. Ranevskaya reproaches T. for his coldness when he says that it makes no difference whether the estate is sold or not. In general, Ranevskaya does not like the hero, calling him a klutz and a second-grade high school student. At the end of the play, T. is looking for forgotten galoshes, which become a symbol of his worthless, albeit illuminated by beautiful words, life.
Essay on literature on the topic: Petya Trofimov (Chekhov’s Cherry Orchard)
Other writings:
- Students have always been the leading part of society. Because, firstly, these are young people, full of strength, confidence in their rightness and in the possibility of transformation. Secondly, these are studying youth, that is, people who are destined to daily replenish their knowledge, come into contact with new things in science, philosophy, Read More ......
- Ranevskaya’s daughter, Anya, and Petya Trofimov, her late younger brother’s former tutor, are not the main characters of “The Cherry Orchard” - after all, the play is focused on the story of the sale of an estate with a cherry orchard. The life paths of Read More ...... are much more closely connected with this central episode.
- It just so happened in the social situation of generations that people living today can really judge what lay behind the views on life and society of two opposing characters in A.P. Chekhov’s play “The Cherry Orchard” - Lopakhin and Trofimov. How did they imagine tomorrow Read More ......
- Despite the fact that the play “The Cherry Orchard” was perceived by many of Chekhov’s contemporaries, in particular Stanislavsky, as a tragic work, the author himself believed that “The Cherry Orchard” was “a comedy, sometimes even a farce.” First of all, if we proceed from the definition of the genre, then tragedy is characterized by Read More ......
- Ranevskaya Characteristics of a literary hero Lyubov Andreevna Ranevskaya is a landowner. 5 years ago I went abroad after the death of my husband and the death of my little son. She lived in Paris, received guests, and spent a lot of money. R. is easy to talk to and also very sentimental. About Read More......
- Anya Characteristics of a literary hero Anya is the daughter of Ranevskaya. A girl of 17 years old. A. is in love with Petya Trofimov and is under his influence. I am fascinated by his ideas that the nobility is guilty before the Russian people and must atone for their guilt. A. says that Read More......
- The play “The Cherry Orchard” was written by A.P. Chekhov in 1903. Not only the socio-political world, but also the world of art felt the need for renewal. A.P. Chekhov, being a talented person who showed his skills in short stories, enters drama as an innovator. Read More......
- A special place among the characters in the comedy “The Cherry Orchard” is occupied by Pyotr Trofimov. He is the former teacher of Ranevskaya’s drowned seven-year-old son, a commoner. His father was a pharmacist. Trofimov is twenty-six or twenty-seven years old, he is an eternal student, wears glasses and argues that Read More ......
A.P. Chekhov in the play “The Cherry Orchard” showed people from different generations, adding symbolism to their personalities. Three different classes are involved in the fate of the “Cherry Orchard”; this once perfect and prosperous estate with a garden is dear to Ranevskaya and her brother; the younger characters live in it. By the time of the play, the building had become decadent, began to collapse, and even the cherry harvest was no longer what it used to be.
Petya Trofimov is a 26-year-old guy; Ranevskaya remembers him as a handsome guy who now wears glasses and has not too thick hair. They talk about him as if he is looking ugly, poorly dressed, he is called a shabby gentleman. The guy can’t finish his studies, he is expelled, that’s why he is called an eternal student. He does not have a permanent job, but earns money by translating.
Characteristics of the hero
Petya is a minor character, he also has his own role, and rather belongs to the positive heroes, although he has a number of disadvantages. His status is a commoner, and he grew up in the family of a pharmacist. Unlike the others, he is not touched by the fate of the “Cherry Orchard”; his life and memories are not connected with it.
Petya's main character traits:
- frivolity. Cannot complete studies;
- kindness. The character is treated as a good and kind person;
- purity of soul;
- modesty. The young man does not want to embarrass others;
- funny. They call him an eccentric, he makes people around him laugh;
- philosopher;
- pride. Does not accept money offered;
- optimist. Hard life and the problems of poverty could not eliminate this trait;
- freedom-loving.
The author treats the character comically, everyone treats Petya with irony, although he is an ordinary and ordinary person. His pretentious expressions only cause confusion and misunderstanding. The hero has a strange outlook on life, his words are often arrogant and ugly, since he perceives the world negatively. Even the author himself shows Petya in two ways.
The image of the hero in the play
Petya can assess the situation with the garden from the outside, since he is in no way interested in it. All the other characters are depressed and confused. Petya is a minor character, he is not connected with the fate of the estate, he can fairly understand the situation. His statements make many consider Petya narrow-minded, and his appearance only worsens the picture. He is not stately, not handsome. His relationship with Anya is of interest, because they are representatives of a young society. The hero constantly gets into trouble; he has taken root on the estate since the days of teaching Ranevskaya’s now deceased son.
What does the image of Petya Trofimov show in the play?
(Andrey Feskov - Petya Trofimov, feature film "Garden", 2008)
On the one hand, Petya is positive, but Chekhov tried to make the characters ambiguous, and this is clearly seen in the example of this hero. Petya is a comic participant in the story; with his help, the author was able to more clearly identify the differences between the characters. The main cast of the play loves “The Cherry Orchard” very much and grasps at the past time. Although he has no attachments, the author did not portray Petya in the best light. Trofimov lives with the ideas of a bright future, talks about life through his work, considering himself above love. In fact, he himself lives at the expense of others on the estate, and in general is a morally bankrupt character.