Act 2 Flashcards
Quote + Analysis
Stage direction P22: “The open fields. A wayside shrine - old, crooked, and long neglected.”
“Wayside shrine - a religious place dedicated to the commemoration/worshipping of someone
The shrine therefore indicates traditionalist idealologies. Just as the shrine is neglected, so too are the traditions and values of old Russia, signifying a shift towards a more modern society. “
Stage direction P22: “In the distance is a row of telegraph poles, and a long way on the horizon a large town can be just made out”
“Long telegraph poles: tall structures found in rural areas - for communication over long distances.
These telegraph poles represent a shift towards a more industrialized, modern society. Presence of town and telegraph roles connotes sense of intrusion, disruption of the natural beauty of the Cherry Orchard (and lives of Aristocrats).”
Charlotta P22: “I haven’t got proper papers - I don’t know how old I am. So I always think of myself as being young.”
Charlotta’s assertion, “I always think of myself as being young”, denotes how she perceives herself as youthful. She resolves to embracing a youthful identity amidst reflecting upon her past, which becomes increasingly out of reach. This idealization serves as a coping mechanism, allowing her to momentarily escape her struggles with self-worth. It could also highlight a yearning for a time when she felt more secure.
Dunyasha P23: “That’s not a mandoline - that’s a guitar. (Powders herself in a pocket mirror).
Dunyasha remarks, “That’s not a mandoline - that’s a guitar”, and proceeds to powder herself in a mirror. The contrast between the two objects, mandoline and guitar, symbolizes the tension between tradition and modernity; The mandoline represents refined, aristocratic culture, while the guitar resonates with a more youthful society. The accompanying stage direction of “powders herself in a pocket mirror” is show of Dunyasha’s ongoing efforts to adopt the mannerisms and elegance of the upper class.
Yepikhodov P23: “For the madman who’s in love it’s a mandoline.”
Yepikhodov responds, “For the madman who’s in love it’s a mandoline”, successfully capturing the duality of love. When used in this context, the word “madman” highlights the intensity of his romantic feelings, but also the irrationality that accompanies it. Ultimately, his confusion between the guitar and mandoline suggests that these romantic feelings have clouded his judgement. This quote alludes to the broader theme of love, illustrating how deep emotions, if unchecked, can shape one’s view of the world.
Yephikhodov P24: “I’ve been tossed around like a rowing-boat in a high sea.”
Yephikhodov’s metaphoric comparison of his own circumstance to an impotent “boat” in a “rough sea” reveals emotions of fustration and despair. Because of the inability to control his life, he remains subject to the tumultous reforms of Russian society. These characteristics therefore transcend to a situation prevalent in the lower class - being the cannon fodder of social change.
Dunyasha 24: (Embrassed) “All right - only first fetch me my cloak”
Use of a stage direction to highlight Dunyasha’s embarassment as she agrees to have a word with Yepikhodov in private alludes to her concerns about how other perceive her and her social standing. Dunyasha’s imperative “only first fetch me my cloak” denotes a desire to avoid drawing attention to herself as she recognizes that being seen with Yepikhodov, who is also of a lower status, may reinforce her own position as a servant.
Dunyasha P24: “Look at my hands - white as white, like a lady’s”
Dunyasha directs Yasha’s attention to her as she says, “Look at my hands - white as white, like a lady’s”. The vivid imagery “white as white” represents purity and beauty, which are traditionally associated with the Aristocracy, contrasting with her standing as a servant. Use of a similie when she compares her hands to a “lady’s” symbolizes her longing to be recognized as a member of the upper class.
Gayev P25: “We popped into town and had some lunch…Yellow into the middle pocket!””
Gayev P27: “Red, cushion, and into the corner… Cushion, red, and into the corner…””
Gayev’s habitual mention of billiards during inopportune moments is demonstrated in his exclamation, “Yellow into the middle pocket!”, and serves as a notable example of comical absurdity in the play. His fixation on leisurely activities juxtaposes with Lopakhin’s urgency, evoking a sense of surrealism. Hence, Chekhov illustrates a striking quality of the aristocratic class - deprivation of thought rooted from an accustomation to pleasure.
Ranevskaya P26: “…I somehow just go on mindlessly spending… (Drops the purse and scatters gold coins)”
The abstract diction of adverbs such as “somehow” and “mindlessly” alludes to Ranevskaya’s recognition of her unwise financial decisions. Ironically, despite acknowledging the error of her ways, she continuously submits to the urges of frivolous expenditure, thereby highlighting her immaturity. The subsequent gesture of “drops the purse” creates a sense of disorder and impotence. From this perspective, Chekhov suggests that perhaps the aristocracy is not entirely delusive, but rather vulnerable when faced with loss of wealth and prestige.
Gayev P26: (Waves his hand) “I’m incorrigible, that’s obvious.”
In a moment of self-reflection, Gayev admits, “I’m incorrigible, that’s obvious”, displaying recognition of his shortcomings. His casual gesture of a wave of the hand makes his flaws seem almost dismissable or humourous as he downplays their significance. Gayev’s self-absorbed complacency is a direct indictment of the Aristocracy’s smug, entitled nature. Furthermore, self-deprecating humour serves as defense mechanism for Gayev as he deflects the urgency of their situation.
Lopakhin P27: “You reduce me to despair! (To Gayev) You’re an old woman!”
The use of a the hyperbolic exclamation “You reduce me to despair!” demonstrates Lopakhin’s fustration and desparation towards the cecity of the higher class. An “old woman” connotes ideas of blindness and by social norms of the past, illiteracy. Thus, the metaphorical interjection towards Gayev is an indirect classification of qualities of the aristocracy - ignorance and fallacy.
Lopakhin P29: “I write such a foul hand I’m ashamed for people to see it. I’m a pig.”
The quote “I write such a foul hand I’m ashamed for people to see it. I’m a pig.” is an instance of Lopakhin’s persistent self degradation. His negative references to ancestrial serfdom, and therefore illiteracy, reveal shame and loss of self-worth. His metaphorical comparison of himself to a “pig” connotes ideas of materialism and uncivilisation. Chekhov employs Lopakhin’s character to suggest how a low class background can deeply diminish an individual’s esteem while simulatenously fostering pecuniary desires.
