The origin of Lopakhin and its appearance. Lopakhin - "subtle, tender soul" or "predatory beast"? (based on the play by A

Lopakhin Ermolai Alekseevich - a wealthy merchant, a native of ordinary peasants (his father was a serf). Lopakhin's father became free after the abolition of serfdom (1861). Having some money, he opened a shop and became rich. Yermolai energetically took up his father's business and significantly increased his wealth. Despite his condition, Lopakhin remained a simple peasant (he liked to emphasize this).

Lopakhin, has a prudent mind, business acumen and enterprise. He is energetic, and the scope of his activities is much wider than that of the former masters of life.

From five o'clock he is already on his feet, he works from morning to evening and cannot imagine his life without work. A curious detail - because of his activities, he always does not have enough time, some business trips that he goes on are constantly mentioned. This character in the play looks at his watch more often than others. In contrast to the amazingly impractical Ranevskaya family, he knows the bill of both time and money.

Lopakhin loves Ranevskaya and keeps fond memories of her. In a conversation with Dunyasha, he says:

“I remember when I was a boy of about fifteen, my late father - he then traded here in the village in a shop - hit me in the face with his fist, blood came out of my nose ... Lyubov Andreevna, as I remember now, was still young, so thin, let me down me to the washstand, in this very room, in the nursery. “Don’t cry, he says, little man, he will heal before the wedding ...”

Garden Rescue Plan

Upon learning of her misfortune (the cherry orchard does not generate income and Ranevskaya is forced to put it up for sale in order to pay off her debts), Lopakhin proposes a rescue plan. Like a true entrepreneur, he finds a way to make the garden profitable. To do this, you need to break the garden into plots and rent it out for summer cottages. True, the cherry itself will have to be cut down.

Lopakhin, being a practical and a little down to earth nature, does not understand the nostalgic feelings that Ranevskaya has for the garden. When she does not agree to do this with the garden dear to them, Lopakhin is surprised at the frivolity and idleness of Ranevskaya and her brother. He himself gets up at 5 am and works until night.

Triumph of Lopakhin

At the end of the play, it is Lopakhin who acquires the cherry orchard. This is the moment of his highest triumph: the peasant's son, "illiterate Yermolai", becomes the owner of a noble estate, where his "father and grandfather were slaves." He no longer thinks about the feelings of the former owners of the estate. Joy bursts from Lopakhin, he laughs and stamps his feet. His feelings are expressed in a monologue:

“If my father and grandfather got up from their graves and looked at the whole incident, how their Yermolai bought an estate, which is more beautiful than anything in the world. I bought an estate where my grandfather and father were slaves, where they were not even allowed into the kitchen...”.

Having become the owner of the Ranevskaya estate, the new owner dreams of a new life: “Hey, musicians, play, I want to listen to you! Everyone come and watch how Yermolai Lopakhin will hit the cherry orchard with an ax, how the trees will fall to the ground! We will set up dachas, and our grandchildren and great-grandchildren will see a new life... Music, play!”

The "new master" of life, Lopakhin, personifies the new time. He is the only one who can come close to understanding the essence of the era, but in his life there is no place for real beauty, soulfulness, humanity, because Lopakhin is a symbol of only the present. The future belongs to other people

Lopakhin quotes

True, my father was a peasant, but here I am in a white waistcoat and yellow shoes.

Your brother, that's Leonid Andreevich, says about me that I'm a boor, I'm a kulak, but I absolutely don't care. Let him speak. I only wish that you believed me as before, that your amazing, touching eyes looked at me as before. Merciful God! My father was a serf of your grandfather and father, but you, in fact, you once did so much for me that I forgot everything and love you like my own ... more than my own.

You are very gentle, Dunyasha. And you dress like a young lady, and your hair too. You can not do it this way. We must remember ourselves.

Yes, time is running out.

I constantly have my own and other people's money, and I see what kind of people are around. You just have to start doing something to understand how few honest, decent people there are.

The only remarkable thing about this garden is that it is very large. Cherry is born every two years, and even that has nowhere to go, no one buys.

In the spring I sowed a thousand acres of poppies and now I have earned forty thousand net. And when my poppy blossomed, what a picture it was! So I, I say, have earned forty thousand and, therefore, I offer you a loan, because I can. Why tear up your nose? I'm a man... simply.

My dad was a peasant, an idiot, he didn’t understand anything, he didn’t teach me, but only beat me while drunk, and all with a stick. In fact, I'm the same blockhead and idiot. I didn’t learn anything, my handwriting is bad, I write in such a way that people are ashamed of me, like a pig.

One of the central characters in the play The Cherry Orchard is the merchant Lopakhin. Despite the fact that the action takes place around the estate of Lyubov Andreevna Ranevskaya and her cherry orchard, Lopakhin can be confidently called a character equivalent to the landowner. His fate is closely connected with the Ranevskaya family, because his father served with Lyubov Andreevna, while still a serf. Yermolai himself managed to get out of the "muzhiks", becoming a merchant and on his own, without the help of his parents, having made a fortune for himself. The energy, diligence and diligence of Lopakhin deserve undoubted respect.

However, Yermolai himself in his heart cannot tear himself away from his origin, sincerely considering himself a blockhead and an ordinary peasant, illiterate and stupid. He says that he knows nothing about books and has bad handwriting. But the reader perceives Lopakhin as a hard worker, because the hero cannot imagine his life without work. The merchant knows how to earn money, knows the value of time, but at the same time he is not a tight-fisted grabber - he is just as easily ready to part with his money if it can help someone. Lopakhin sincerely worries about Ranevskaya and her garden, helping to find a way out of the situation.

Among the many characters in the work, it is Ermolai Lopakhin who is the only one who not only talks and worries about the garden, but also tries to do something. He comes up with several real ideas to save the site, but due to the inaction of the owners themselves, they all fail. Thus, in the image of Lopakhin, positive, seemingly excluding each other, but so harmoniously existing features in him are closely intertwined: business acumen and sincere humanity, the desire to help a loved one.

Other characters speak of Yermolai in completely different ways. Ranevskaya warmly relates to an old acquaintance, who almost grew up before her eyes, but perceives him as a person of a different circle, although she is interested in the merchant. A diametrically opposite attitude is observed on the part of her brother, Gaev: he calls Lopakhin a boor and a fist. The merchant himself is absolutely not disturbed by such a characteristic - for him, the attitude of Lyubov Andreevna is much more important.

The story of Lopakhin and Varya is of considerable importance in the work. Their relationship leads to a wedding, but Yermolai does not marry the girl. This happens due to a mismatch of characters: Varya considers the merchant a practical, incapable of loving businessman. However, after analyzing the images of these heroes, one can draw the opposite conclusion - Varya herself is drier, limited to household chores, while Lopakhin is a man of a broad soul and fine organization. Absolute misunderstanding of each other will lead to the collapse of love relationships.

In Yermolai's soul there also lives another, unspoken, but noticeable feeling to the reader - his bright and quivering love for Ranevskaya. He is ready for anything at her request - even to marry another. However, the landowner herself treats Lopakhin a little condescendingly, like a child whom she once washed. And when the merchant finally realizes the non-reciprocity of what he has kept inside for so long and cherished, a turning point occurs. Lopakhin buys the estate, the awareness of his own power and importance intoxicates him. Being a completely intelligent person, Yermolai understands that, having bought a garden, he will not be able to capture the feelings of Ranevskaya, and his dream will be lost completely and irretrievably. After the sale of the estate, the family leaves, Ranevskaya herself leaves for Paris, and he is left all alone.

Lopakhin, as the author's remark at the beginning of the play says, is a merchant. His father was a serf of Ranevskaya's father and grandfather, he traded in a shop in the village. Now Lopakhin has become rich, but ironically says about himself that he remained a “muzhik a muzhik”: “My dad was a peasant, an idiot, he didn’t understand anything, he didn’t teach me, but only beat me drunk ... In essence, I’m the same blockhead and idiot. I didn’t study anything, my handwriting is bad, I write in such a way that people are ashamed, like a pig.

Lopakhin sincerely wants to help Ranevskaya, offers to break the garden into plots and rent it out. He himself feels his enormous strength, which requires application and exit. In the end, he buys a cherry orchard, and this moment becomes the moment of his highest triumph: he becomes the owner of the estate, where his "father and grandfather were slaves, where they were not even allowed into the kitchen." The further, the more he learns the habit of "waving his arms": "I can pay for everything!" - He is intoxicated by the consciousness of his strength, luck and the power of his money. Triumph and compassion for Ranevskaya oppose him at the moment of his highest triumph.

Chekhov emphasized that the role of Lopakhin is central, that “if it fails, then the whole play will fail”, “Lopakhin, however, is a merchant, but a decent person in every sense, he must behave quite decently, intelligently, not small, without tricks ". At the same time, Chekhov warned against a simplified, petty understanding of this image. He is a successful businessman, but with the soul of an artist. When he talks about Russia, it sounds like a declaration of love. His words are reminiscent of Gogol's lyrical digressions in Dead Souls. The most heartfelt words about the cherry orchard in the play belong to Lopakhin: "the estate, which is more beautiful than anything in the world."

In the image of this hero, a merchant and at the same time an artist at heart, Chekhov introduced features characteristic of some Russian entrepreneurs of the early twentieth century who left their mark on Russian culture - Savva Morozov, Tretyakov, Shchukin, publisher Sytin.

The final assessment that Petya Trofimov gives to his seemingly antagonist is significant: “After all, I still love you. You have thin, tender fingers, like an artist’s, you have a thin, tender soul ... ”About a real entrepreneur, about Savva Morozov, M. Gorky said similar enthusiastic words:“ And when I see Morozov behind the scenes of the theater, in the dust and tremble for the success of the play - I am ready to forgive him all his factories, which, however, he does not need, I love him, because he disinterestedly loves art, which I can almost feel in his peasant, merchant, acquisitive soul.

Lopakhin does not propose to destroy the garden, he proposes to reorganize it, divide it into suburban areas, make it publicly available for a moderate fee, "democratic." But at the end of the play, the hero who has achieved success is shown not as a triumphant winner (and the old owners of the garden - not only as defeated, that is, victims on a certain battlefield - there was no “battle”, but there was only something absurd, sluggishly everyday, certainly not "heroic"). Intuitively, he feels the illusory nature and relativity of his victory: “Oh, if only all this would pass, our awkward, unhappy life would soon change.” And his words about “an awkward, unhappy life”, which “know to yourself passes”, are supported by his fate: he alone is able to appreciate what a cherry orchard is, and he destroys it with his own hands. For some reason, his personal good qualities, good intentions are ridiculously at odds with reality. And neither he nor those around him can understand the reasons.

And Lopakhin is not given personal happiness. His relationship with Varya results in actions that are incomprehensible to her and others, he does not dare to make an offer. In addition, Lopakhin has a special feeling for Lyubov Andreevna. He is waiting with particular hope for the arrival of Ranevskaya: “Does she recognize me? Haven't seen each other for five years."

In the famous scene of the failed explanation between Lopakhin and Varya in the last act, the characters talk about the weather, about a broken thermometer - and not a word about the most important thing at that moment. Why didn't the explanation take place, love didn't take place? Throughout the play, Varya's marriage is discussed as a matter almost decided, and yet ... The point, apparently, is not that Lopakhin is a businessman incapable of showing feelings. Varya explains their relationship to himself in this spirit: “He has a lot to do, he has no time for me”, “He is either silent or joking. I understand that he is getting richer, busy with business, he is not up to me. But, probably, Varya is not a match for Lopakhin: he is a broad nature, a man of great scope, an entrepreneur and at the same time an artist at heart. Her world is limited by economy, economy, keys on her belt ... In addition, Varya is a dowry who does not have any rights even to a ruined estate. For all the subtlety of Lopakhin's soul, he lacks humanity and tact to clarify their relationship.

The dialogue of the characters in the second act at the level of the text does not clarify anything in the relationship between Lopakhin and Varya, but at the level of subtext it becomes clear that the characters are infinitely far away. Lopakhin has already decided that he will not be with Varya (Lopakhin here is a provincial Hamlet, deciding for himself the question “to be or not to be”): “Okhmeliya, go to the monastery ... Okhmeliya, oh nymph, remember me in your prayers!”

What separates Lopakhin and Varya? Perhaps their relationship is largely determined by the motif of the cherry orchard, its fate, the attitude of the characters of the play towards it? Varya (together with Firs) sincerely worries about the fate of the cherry orchard, the estate. Lopakhin, the cherry orchard was “sentenced” to cutting down. “In this sense, Varya cannot connect her life with the life of Lopakhin, not only for “psychological” reasons prescribed in the play, but also for ontological reasons: between them literally, and not metaphorically, stands the death of the cherry orchard. It is no coincidence that when Varya learns about the sale of the garden, she, as Chekhov's remark says, "takes the keys from her belt, throws them on the floor, in the middle of the living room, and leaves."

But it seems that there is another reason that is not formulated in the play (like many things - sometimes the most important thing in Chekhov) and lies in the sphere of the psychological subconscious - Lyubov Andreevna Ranevskaya.

Dotted in the play, another line is outlined, piercingly tender and elusive, indicated with exceptional Chekhovian tact and psychological subtlety: the line of Lopakhin and Ranevskaya. Let us try to formulate its meaning as it seems to us.

Once in childhood, still a "boy", with a bloody nose from her father's fist, Ranevskaya led Lopakhin to the washstand in her room and said: "Don't cry, little man, he will heal before the wedding." Moreover, in contrast to her father's fist, Ranevskaya's sympathy was perceived as a manifestation of tenderness and femininity itself. Actually, Lyubov Andreevna did what her mother was supposed to do, and isn’t she involved in the fact that this strange merchant has a “thin, tender soul”? This beautiful vision, this love-gratitude, Lopakhin kept in his soul. Let us recall his words in the first act, addressed to Lyubov Andreevna: “My father was a serf for your grandfather and father, but you, in fact, you once did so much for me that I forgot everything and love you like my own .. . more than native”. This, of course, is a “confession” of long-standing love, first love – tender, romantic, love – filial gratitude, youthfully bright love for a beautiful vision that does not oblige you to anything and does not require anything in return. Perhaps only one thing: so that this romantic image that has sunk into the soul of a young man entering the world is not destroyed in any way. I do not think that this confession of Lopakhin had any other meaning than the ideal one, as this episode is sometimes perceived.

But once experienced is irrevocable, and this “dear” Lopakhin was not heard, was not understood (did not hear or did not want to hear). Probably, this moment was psychologically a turning point for him, it became his farewell to the past, a settlement with the past. A new life began for him. But now he is more sober.

However, that memorable youthful episode is also related to the Lopakhin-Varya line. The romantic image of Ranevskaya of her best times - the times of her youth - became that ideal-standard, which, without realizing it, Lopakhin was looking for. And here is Varya, a good, practical girl, but ... Lopakhin's reaction in the second act to the words of Ranevskaya (!), Who directly asks him to propose to Varya, is indicative. It was after this that Lopakhin angrily talks about how good it was before, when the peasants could be fought, and begins tactlessly teasing Petya. All this is the result of a decline in his mood, caused by a misunderstanding of his condition. A note sharply dissonant with all its harmonious sounding was introduced into the beautiful, ideal image of youthful vision.

Among the monologues of the characters in The Cherry Orchard about a failed life, Lopakhin's unexpressed feeling can sound like one of the most poignant notes of the performance, this is how Lopakhin was played by the best performers of this role in recent years, V.V. Vysotsky and A.A. Mironov.

LOPAKHIN

LOPAKHIN - the hero of A.P. Chekhov's comedy "The Cherry Orchard" (1903).

Unlike other comedy characters, whose "perspective of feelings" goes into the past (Ranevskaya, Gaev, Firs) or into the future (Trofimov, Anya), L. is all in the "present", transitional, unstable time, open in both directions " time chains" (Chekhov). “Ham,” Gaev unambiguously certifies him. According to Trofimov, L. has a "thin, tender soul" and "fingers, like an artist." Both are right. And in this correctness of both the “psychological paradox” of the image of L.

"A man is a man" - despite his watch, "white vest" and "yellow boots", despite all his wealth - L. works like a man: he gets up "at five o'clock in the morning" and works "from morning to evening." He is in a constant business fever: "you must hurry", "it's time", "time does not wait", "no time to talk." In the last act, after buying a cherry orchard, his business excitement turns into some kind of nervous business fever. He is not only in a hurry himself, but also hurries others: "Hurry up", "It's time to go", "Get out, gentlemen ...".

L.’s past (“My dad was a peasant, an idiot, didn’t understand anything, didn’t teach me, but only beat me while drunk, and everything with a stick”) has sprouted into the present and echoes in it: stupid words (“Hoppy ...”, “before date"); inappropriate jokes; “bad handwriting”, because of which “people are ashamed”; falling asleep over a book in which “I didn’t understand anything”; shaking hands with a footman, etc.

L. willingly lends money, being in this sense an "atypical" merchant. He "simply", from the heart offers them to Petya Trofimov on the road. He sincerely cares about the Gaevs, offering them a “project” to save them from ruin: to lay out a cherry orchard and land along the river into summer cottages and then rent them out as summer cottages. But it is precisely at this point that an insoluble dramatic conflict begins: in the relationship between the “rescuer” L. and the “rescued” owners of the estate.

The conflict is not in class antagonism, not in opposition to economic interests or hostile personalities. The conflict is located in a completely different area: in the thin, almost indistinguishable sphere of "culture of feelings." In the scene of Ranevskaya's arrival, L. sees her bright joy at a meeting with home, childhood, and the past; observes Gaev's emotion, Firs' excitement. But he is unable to share this joy, this excitement, this "chillness" of feelings and moods - he is unable to sympathize. He would like to say “something very pleasant, cheerful,” but he is seized by another joy and other excitement: he knows how to save them from ruin. He is in a hurry to publish his "project" and comes across the indignant Gaev's "Nonsense" and the embarrassed words of Ranevskaya: "My dear, I'm sorry, you don't understand anything." Speaking about the need to “clean up” here, “clean”, “demolish”, “cut down”, he does not even understand what emotional shock he plunges into by this the owners of the family estate, with which their whole life is connected. This line turns out to be uncrossable for either side of the dramatic conflict.

The more actively L. seeks consent to the demolition of the old house and cutting down the cherry orchard, the deeper the abyss of misunderstanding becomes. With the development of the action, the emotional tension of this confrontation also grows, at one pole of which Lopakhin’s “L either I will sob, or I will scream, or I will faint. I can not! You tortured me!” - and on the other, Ranevskaya's feeling: "If you really need to sell it, then sell me along with the garden." L. cannot understand that for Ranevskaya a simple “yes” means complete self-destruction and self-destruction of the individual. For him, this question is "completely empty."

The paucity of the emotional "spectrum", spiritual "color blindness", deafness to distinguishing shades of feelings make it impossible for L. close, cordial contact with Ranevskaya, whom he "loves like his own, more than his own." A kind of vague consciousness of his deprivation, a heavy bewilderment before life, is growing in L.. He seeks not to give free rein to these thoughts and “hammers” them with hard work: “When I work for a long time, without getting tired, then the thoughts are easier, and it seems as if I also know why I exist.” In the hours of insomnia, he is capable of large-scale generalizations: "Lord, you have given us vast forests, vast fields, the deepest horizons, and living here, we ourselves should really be giants." But in real life, this leads to “arm waving” and Ranevskaya’s alienated remark: “You needed giants ... They are only good in fairy tales, they scare attacks.” In the world of aristocratic culture, L.'s rough harshness and certainty of feelings are out of place. Indifferent to the beauty and poetry of the cherry orchard, L. has his own ideas about beauty: “I sowed a thousand acres of poppy in the spring and now I have earned forty thousand net. And when my poppy was in bloom, what a picture it was!”

With the greatest openness, L's dreary inner strength erupted in the scene of the return from the auction. The drunken courage of the monologue - with the stomp of feet, with laughter and tears - expressed the "subtle and tender" soul of the "ham". Let "somehow accidentally" (K.S.Stanislavsky), "almost involuntarily", "unexpectedly for himself", but he still bought the estate of Ranevskaya. He did everything to save the owners of the cherry orchard, but did not have the spiritual tact not to cut it down in front of the former owners: he was in a hurry to clear the area for the "future" from the "past".

The first performer of the role of L. - L.M. Leonidov (1904). Other performers include B.G. Dobronravov (1934), V.S. Vysotsky (1975).

N.A.Shalimova

literary heroes. - Academician. 2009 .

See what "LOPAKHIN" is in other dictionaries:

Lopakhin- Lop ahin, a (lit. character; businessman) ... Russian spelling dictionary

Corresponding Member of the Russian Academy of Medical Sciences (1988); born February 11, 1941; works at the Russian Center for Expertise of Drugs of the Ministry of Health and Medical Industry of Russia; area of scientific activity: pharmacology ... Big biographical encyclopedia

Cherry Orchard Genre: lyrical tragicomedy

The Cherry Orchard The Cherry Orchard Genre: Comedy

This term has other meanings, see They fought for the Motherland. They fought for their homeland ... Wikipedia

- (1938 1980), Russian poet, actor, author and performer of songs. Tragically confessional poems, romantic lyrical, comic and satirical songs, ballads (collections: "Nerv", 1981; "Of course, I'll be back ...", 1988). In songwriting... encyclopedic Dictionary

One of the central characters of the play by A.P. Chekhov is an enterprising native of the lower classes. Outwardly, it seems that the actions do not develop around him, he stands aloof from the problem of the work. In fact, everything is completely different. The image and characterization of Lopakhin in the play "The Cherry Orchard" is a brilliant example of the brilliant author's skillful use of words. With short strokes, insignificant actions, he brings a new class of society out of the shadows.

Appearance and origin of the character

Ermolai Alekseevich comes from a poor peasant family. The cruel father beat his son with a stick, did not provide the necessary. Yermolai ran barefoot in the snow, he did not study anywhere. The serf grandfather and father were "in slavery" of Ranevskaya's parents. Yermolai likes to call himself a "man". By this word, he means a whole class of serfs working for their masters. The peasants were not allowed into the house, even into those rooms where the owners were rarely present. From the words of the son, it becomes clear that the father, by profession, by occupation, is a merchant in a shop. Perhaps the father's trading streak developed into his son's entrepreneurial spirit. At some moments, it seems that Lopakhin is not proud, but boasts of his origin. But there are probably mixed feelings here. Ermolai Alekseevich is pleased with himself: he managed to acquire an estate that his ancestors could not even dream of.

The young merchant is neat in appearance. Strange, but the author does not talk about Lopakhin's age. One can only assume he is somewhere between 30 and 40. He was about 15 when Ranevskaya was young and thin. What emphasizes the classic in the guise of a character:

Gentle fingers;
White vest;
Yellow shoes.

Modest details, but easily presented image.

Hero character

Lopakhin is shown from different angles. His character allows you to choose the most striking features:

Diligence: gets up at 5 am and works until late at night.
Mind: a man without education is successful in accumulating a fortune.
Modesty: does not renounce male origin.
Self-criticism: Yermolai knows his weaknesses, is not afraid to voice them to others: a blockhead, an idiot, bad handwriting.

Yermolai Lopakhin is very busy. He does not miss a single opportunity to increase his capital.

Lopakhin can be nasty, so Gaev calls him a fist. The man does not pay attention to such remarks addressed to him, perhaps Gaev is not the person whose words you should listen to. Trofimov compares Yermolai with a predator. In the plot of the play, the predatory nature is manifested very clearly. Lopakhin "swallowed" the cherry orchard, not noticing how much grief it brought to those around him. Moreover, it should be noted that some of them are close to him.

Beliefs and authorities

Ermolai Alekseevich is not afraid of labor on earth. Agriculture gives him a good income: he sows poppies and receives 40 thousand each. He admires nature, but surprisingly only that which brings profit. A blooming poppy is a beautiful picture. Huge forests, vast fields, the deepest horizons make Lopakhin's brain work with tripled strength. He represents people as giants who must master all natural gifts. And the cherry orchard does not delight the merchant. He sees in it only areas for summer cottages. The gentle soul of a man is not upset at the thought of the death of the garden. The only thing wonderful about the garden is that it is big. The size is commensurate with the possible income. Delicious fragrant berries are not interesting. They are born 2 times a year, what to do with them. They are unprofitable even to trade.

The main conviction of the merchant is the importance of money. The more he moves among them, the less he sees decent people. Everyone seems to him dishonest, envious and evil. It cannot be said that money made Lopakhin a stingy person. HE lends, the classic does not specify the terms of the debt, but not everyone wants to use the merchant's generosity. Pyotr Trofimov prefers to remain poor, but not the merchant's debtor. Ranevskaya easily asks for a loan.

Lopakhin and the owners of the cherry orchard

Yermolai has known Ranevskaya since childhood. He treats her with tenderness. From the replicas of the hero, the viewer learns that the mistress of the estate did a lot of good for the merchant. Love for a woman as a native person, sister, friend. Relationships are trusting. Yermolai wants Ranevskaya to believe him as before. An interesting phrase:

"Sleep well, there is a way out ...",

But when the decision with the garden was made, no proposals were received from Lopakhin to the former owners.

According to some literary critics, Ermolai Alekseevich loves Ranevskaya more than his own. A bright feeling, a desire to help run through the entire plot, but others believe that for the merchant, love for Lyubov Andreevna ends with the fate of the cherry orchard. He himself cuts what he kept deep in his soul.

Lopakhin and adopted daughter Ranevskaya

The adopted girl in the family sincerely loves Yermolai. She hopes that Lopakhin is a good sincere person. In a conversation with Lyubov Andreevna, Ermolai does not refuse marriage: "I do not mind ...". But for more than 2 years, their imaginary connection has been heard only in the air. The merchant avoids Vari, is silent in her presence or jokes. In the last acts of the play, the mother asks Lopakhin to offer his hand and make an offer, to finish with this problem. There are many contradictions in the set of words of Yermolai's monologue:

I do not understand - to confess;
There is still time - even now;
Let's finish - that's it;
Without you, I won't make an offer.

The reader understands that Yermolai is not ready. He hopes that everything will resolve itself. Why tie the knot of marriage now, when there is another joyous event? The acquisition of a cherry orchard opens up new opportunities for the merchant, and love stops his life. The merchant has no time for feelings, especially since love has no real value.

The success of the whole play depends on the performer of the role of Lopakhin. This is the opinion of the author. The classic puts in the center of action not the real owners of the garden, but the future owner. The play becomes the starting point of a new life for each character. Lopakhin is the cause of change. His sober look, practicality, business acumen attract viewers.