Symbolism In Anton Chekhov's The Cherry Orchard

Flowers are an ongoing symbol in Harper Lee’s novel To Kill a Mockingbird. They are used to relate to or represent many of the characters all through the novel. The use of symbolism throughout this work of fiction is essential because it gives a deeper understanding of the characters. Mayella Ewell and the red geranium, Miss Maudie and her azaleas, Miss Dubose and her camellias, and Mayella Ewell and the violet are four major uses of symbolism in the story.

The theme of “Marigolds” demonstrates Lizabeth’s change in attitude throughout the story just as maturation affects every modern teen. The short story “Marigolds” is about when the main character, Lizabeth, slashes up the marigolds in Ms. Lottie’s garden. When she realized what she was doing, she saw the time at the end of her childhood and the start of her adulthood. This theme can be seen throughout many teens’ lives. She and teens today experiencing this can be blind to happiness because of the setting they’ve grown in, influenced by rebellion, but can also find happiness as they grow older and realize the settings around them.

If she likes the bottles so much, she should carry them to the brewery, she should watch as the street fills with blood and then washes itself clean... while the dead are loaded into a van” (Galloway, 171). After this thought, Kenan leaves Mrs. Ristovski’s bottles in a small hole and continues home without them. On his way home however, Kenan hears the cellist play and he “watches as his city heals itself around him” (Galloway, 209).

In the short story “Marigolds”, the author, Eugenia Collier, uses several key events throughout the short story to represent the unseen cage that the main character, Lizabeth, is trapped in, and ultimately breaks. The story is set in a shanty town, likely taking place during the Great Depression. Throughout the story, Lizabeth goes through a difficult stage in life, a stage in which she is in conflict about whether she wants to be a carefree, innocent child, or an educated, compassionate adult. The climax of the story, when Lizabeth tears and rips up Miss Lottie’s marigolds, is such an emotional moment for Lizabeth that she finally completes her transition to adulthood, understands her endless cycle of poverty, and breaks the final bar of the cage.

The narrator's vision of her ancestors expanding a plentiful life is emphasized with the picturesque “blue fields…with leaves and vines and orchards.” This then strikes the narrator with the realization that cutting down the tree would be a betrayal to their ancestors, their dreams and the demise of the heritage of the

From her childhood, Hillam grew up with the lilac tree blooming around her mother’s birthday. After her father’s death, her family moves into their grandmother’s house for fear of deportation. She sits with her mother and brothers “And I wanted to see the lilac tree, imagining it full of blossoms. I had always liked the fragrance of lilacs…There was no lilac tree, and Papa was not here to sing his songs of love” (36). She associates the lilac tree with the happiness of her old life. She misses her father and wants desperately to get back to the time where they were all together and life was normal.

Anton Chekhov hardly restrained from writing the dreary aspects of life during his writing career. Noted as one of Russia’s most prominent realist writers of the late 19th century, Chekhov’s work ranged from critical issues concerning the mental health system in “Ward No.6” to illustrating the tiresome cycle occurring for ordinary people sensing they are incomplete with their dull, normal life in “The Lady with the Dog.” “The Lady with the Dog,” in particular portrays characters of Chekhov’s facing an unreachable desire; Gurov and Anna. This desire emulates two contrasting forces represented by the double-lives the couple lives, one being that of realism and boredom, and the other of strict passion and romanticism. Gurov and “the lady with

The stories of Anton Chekhov mark a focal moment in European fiction. This is the point where 19th realist caucus of the short stories started their transformation into modern form. As such, his work straddles two traditions. The first is that of the anti-romantic realism which has a sharp observation of external social detail. It has human behavior conveyed within tight plot. The second is the modern psychological realism in which the action in typically internal and expressed in associative narrative that is built on epiphanic moments. In consideration of the two sides, Chekhov developed powerful personal styles that presage modernism without losing traditional frills of the form. This essay will discuss the Chekhov's portrayal of women.

The play starts off with Boy Willie and his friend Lymon heading towards north to Pittsburgh. Their intentions are to sell a truck load of watermelons, and most of all to convince Berniece into selling the piano. Boy Willie knows very well that Berniece will not give up the piano, but resumes with his journey to sell the piano. The piano in this play is the heart of the play. It is the main cause for the tension between Boy Willie and Berniece. The piano has brought upon many grieves to the Charles family, and has caused many lives. The piano is a symbol for every life that it has taken. And for those lives, Berniece resists in letting go of the piano. Even though, it is the most important matter in the family. To Berniece, the piano is also a prize possession because of their ancestors, but most of all she refuses to sell it because their mother polished it everyday after their father died. Berniece accuses Boy Willie of not considering what their mother has done. But even after all that their family has gone through to finally claim the piano, Boy Willie wants to sell it anyway. The piano is the only family value that both siblings can hold on to and pass on to next generations. Boy Willie feels

The past is constantly mentioned by the characters in this play. Even the cherry orchard as property, is a symbol of the Old Russian regime. The end of the Old Regime therefore, is portrayed by Chekhov when at the end of the play Lohpakin becomes the owner of the estate and cuts the cherry orchard. Chekhov, as a contemporary observer, uses his play to criticize some aspects of the emancipation of 1861. The message he leaves is that although the emancipation was an important step towards freedom, it was not the only one to be made. This message, besides being given throughout the novel, is also stated by Trofimov, an idealist student who realizes how far Russia is from achieving real freedom. At the end of Act 2, Trofivom tells Anya, Madame Ranevskaya’s 17-year-old daughter: “...In order to start living in the present, we first have to redeem our past, make an end of it, and we can only do that through suffering…” .

The first landscape feature that is described are, “the tops of trees” (Chopin 203). Trees are commonly attributed to nature and the symbol of life. Although the author has attributed the trees in this story with the literary term personification, as the trees, “were all aquiver with the new spring life” (Chopin 203). The author has attributed the trees to movement as the protagonist begins to desire to be in the cycle of nature. The protagonist relates to the trees because the trees are no longer weighed down by the heavy snow, thus allowing the trees to grow again, which is similar to the protagonist, as she is no longer confined by her husband, but she desires to be rebirthed (Lucas). Consequently, the protagonist was learning her desires to participate in life as an independent individual and to have restrictions a memory in the past. Therefore, the protagonist is beginning to participate down the path of becoming

Madame Ranevsky neglects that she is poor and gives out money, which increases her debt. She was born an aristocrat and doesn’t understand the meaning of how money was earned. Her brother, on page 13, describes it as “scattering the money .” But yet he makes no attempt to stop her spending. Anya says, “She's already sold her villa near Mentone; she's nothing left...mother's got a footman now, Yasha; we've brought him here.”(Chekhov 5). This quote gives us insight on how malicious her spending habits are. She hires unnecessary help that she can’t afford. She herself says, “I had a lot of money yesterday...I go squandering aimlessly. [Drops the purse, scattering gold coins] There, I’ve dropped it all!” (Chekhov 19). The scattering of the coins is an actual visual of how she neglects money since she lets them fall to the ground, showing no

In 19th century Russian literature there was often a gender inequality depicted between the male and female characters. Women were expected to get married, start a family, and obey their husbands. Women often made sacrifices and married men they weren’t fond of in order to support their families. Anton Chekhov’s writing questions these gender relationships. The female characters have a strong presence within Chekhov’s works, and they transcend typical gender roles.

 Most of the play takes place in a garden, where Byelinkov and Varinka discuss their plans of marriage.  In the opening line of the play Byelinkov exclaims to Varinka  "You are ten minutes late."   She ignores his coarse greeting and continues to tell him of a gift she received earlier in the day from the lady at the market.   The lady told her how fond of Byelinkov she was and asked Varinka to give him a basket of apricots.  Again, he responds with an unthankful jester of "I don't care for apricots" (980).  Another example of Byelinkov's seriousness is displayed when Varinka mentions how happy they will be married and he replies with "happiness is for children" (981).  Varinka shows up the garden on her uncle's bike and Byelinkov refuses to let her ride it home.  He attempts to ride it home for her and immediately falls to ground because the rigid teacher has never ridden a bike before.  He considers the marriage as a challenge presented to him rather than a lifelong opportunity for happiness and love.

  Anton Chekhov's The Cherry Orchard projects the cultural conflict of the turn of the twentieth century of Russia. With a historical allusion, Chekhov exhibited the changing Russia with "slice of life" in his play. The Cherry Orchard is not only a depiction of Russian life but also an understatement of changing traditional value. Cultural conflict itself is an abstraction. To explain it, it is the traditional culture that is unable to resist the invading one. In the play, each character has his or her own personality, which symbolizes their individual social levels of Russian society. But these characters distinguish themselves into two sides, which are conservators and investors;