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The Cherry Orchard – The Struggle

The Cherry Orchard – The Struggle

Anton Chekhov’s play The Cherry Orchard introduces readers to a pre-Revolution Russian family faced with the impending sale of their estate, the Cherry Orchard. The main character in the play is the owner of the Cherry Orchard, Lyubov Andreyevna. It is in the play that Lyubov must ultimately decide whether to allow her Cherry Orchard to be cut down to make room for villas or to sell the entire estate to pay off her debts. It is her unconditional love for both the Cherry Orchard and what it symbolizes to her that allows her to put the estate up for sale rather than have the Cherry Orchard cut down.

Although she is a member of the Russian upper class, Lyubov is hopelessly out of touch with reality and very irresponsible when in comes to finances. She often throws money around as though there are no consequences to her actions. After her husband died and her boy was tragically drowned at the Cherry Orchard, she fled to Paris and bought a villa, which she soon had to sell to pay off her debts. Lyubov dines lavishly and tips handsomely when in all actuality she hasn’t a dime to spare. She throws parties and hires orchestras she knows she can not pay for. It is this type of behavior that put Lyubov deep enough into debt to where her beloved estate has been put at risk.

To Lyubov the Cherry Orchard means so much more than the acres and acres of beautiful cherry trees and rivers; so much more than the piece of land that was featured in the encyclopedia. To her it represents her sense of nostalgia, a longing for the past. It is the place where her grandparents lived. Her mother and father lived there as well. It reminds Lyubov of her youth. When she looks at the cherry trees she does not just see branches and blossoms, she sees a time when she walked through the orchard with her mother as a young girl. She says “I used to sleep here when I was little…and here I am like a child again.” Lyubov’s innocence also remains a part of the Cherry Orchard, for as a child she did not own serfs or squander her family’s money. Even though the Cherry Orchard invokes thoughts of her lost husband and son, she still treasures it.

Malter’s Development in Chaim Potok’s The Chosen Potok Chosen Essays

The Chosen – Malter’s Development One of the most emotional scenes from Chaim Potok’s The Chosen is when Reuven goes with Danny Saunders to talk to his father. Danny has a great mind and wants to use it to study psychology, not become a Hasidic tzaddik. The two go into Reb Saunders’ study to explain to him what is going to happen, and before Danny can bring it up, his father does. Reb Saunders explains to the two friends that he already known that Reuven is going to go for his smicha and Danny, who is in line to become the next tzaddik of his people, will not. This relates to the motif of “Individuality” and the theme of “Danny’s choice of going with the family dynasty or to what his heart leads him.” The most developing character from the novel is Reuven Malter. One of the ways that he developes in the novel is in hus understanding of friendship. His friendship with Dfanny Saunders is encouraged by his father, but he is wary of it at first because Danny is a Hasid, and regards regular Orthodox Jews as apikorsim because of the teachings of his father. Reuven goes from not being able to have a civil conversation with Danny to becoming his best friend with whom he spens all of his free time, studies Talmud and goes to college. Reuven truly grows because he leans, as his father says, what it is to be a friend. Another way that Reuven grows is that he learns to appreciate different people and their ideas. He starts out hating Hasidim because it’s the “pious” thing to do, even though his father (who I see as the Atticus Finch of this novel) keeps telling him that it’s okay to disagree with ideas, but hating a person because of them is intolerable. Through his friendship with Danny, studies with Reb Saunders, brief crush on Danny’s sister (who was never given a name), and time spent in the Hasidic community, he learns that Hasids are people too with their own ideas and beliefs that are as valuable as his. He learns why they think, act, speak, and dress the way that they do and comes to grips with the fact that he doesn’t have a monopoly on virtue. A third way in which Reuven grows, though the book doesn’t really talk about it a great deal, is in his appreciation of life, or cha’im in Hebrew. He almost loses his vision, his father nearly works himself to death, six million Jews are butchered in Europe, and Danny’s brother’s poor health threatens Danny’s choice to not become a tzaddik. When his eye is out of order he can’t read, and indeed does remark that it’s very difficult to live without reading, especially with a voracious appetite for learning such as his. His father almost dies twice and he talks about how difficult it is to live all alone in silence (which is a metaphor alluding to Danny’s everyday life) for the month while his father is in the hospital. He sees Reb Saunders and his father feeling the suffering of the six million dead, Saunders by crying and being silent, David Malter by working for the creation of a Jewish state and being a leader in the movement, in addition to teaching at a yeshiva and adult education classes. And of course Danny is very worried by his brother’s illness (hemophillia?) because if he dies it will be even harded for Danny to turn down his tzaddikship. By the end of the book, Reuven Malter is a very changed character. Potok is an expert with using allusion and metaphor. Very subtly throughout the book he uses this for the purposes of renforcing his points, foreshadowing, and to make the book a better read when you’ve read it previously and know the outcome. One example of this, one that I missed the first time I read the book in 7th grade is the paragraph at the end of chapter nine where Reuven is sitting on his porch and sees a fly trapped in a spider’s web with the arachnid builder approaching. He blows on the fly, first softly, and then more harshly, and the fly is free and safe from the danger of the spider. This is a metaphor to Danny being trapped in the “filmy, almost invisible strands of the web” (165) that is a metaphor for the Hasidic clan that has Danny somewhat captured and expected to become a tzaddik.

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