“Good-bye, My Dear Fellow”

Act IV of The Cherry Orchard is all about saying goodbye. Trofimov’s farewell to Lopakhin comprehends this cathartic moment: “Well, when all’s said and done, I’m fond of you anyway. You have fine, delicate fingers, like an artist; you have a fine delicate soul” (Chekhov, 369). Even though Lopakhin had already announced his regret on buying the orchard, based on the family’s response to the destruction of the place they grew up in, he still seems to be convinced that the purchase helps him become part of that cherished social class that once enslaved his own family. As seen in the screenshot above, the characters embrace each other in response to this parting, revealing the true sentiments toward each other. Trofimov, as the conscience of the play, shows how beneath it all, Lopakhin simply searches to be a part of this life he has always yearned for and can now afford.

In this same scene, Chekhov involves Trofimov’s desires and thoughts on life itself. In response to Lopakhin’s repeated mentions of his humble past, Trofimov states: “Your father was a peasant, mine was a pharmacist – which proves absolutely nothing” (Chekhov, 370). The capability of changing social class, advancing through education and not by acquiring wealth, responds to the difference between the two individuals. Chekhov extends Trofimov’s desire of becoming “wealthy” by studying in Moscow, into the chosen path of the play itself. The need to leave behind the misconception of money as the far-reaching and necessary element of life. This cathartic moment of the play, the realization of life not needing money as the sole proprietor of all our desires, responds to all the previous events in which Chekhov had made fun of his character’s materialistic desires.

Trofimov concludes that “everything that is valued so highly and held so dear by all of you, rich and poor alike, has not the slightest power over me [. . .] mankind is advancing toward the highest truth, the highest happiness attainable on earth, and I am in the front ranks” (Chekhov, 370). The possibility of there being another way of reaching happiness, not through material possessions, develops into Trofimov’s and the play’s realization. The variety of ways the characters of The Cherry Orchard respond toward money can’t be better described than by the juxtaposition of Trofimov and Lopakhin. Chekhov’s discrete involvement in the search of happiness as the reason for all human actions responds with ending the play on this contrasting note.

Pishchik On Money

I wasn’t prepared to observe the high class family of Ranevskaya only talk about money and its importance in life. The Cherry Orchard’s main theme is simply that. People’s desperate obsession, no matter what economic status, for money. Early into Act III we find Pishchik talking to Trofimov about his medical condition and how he is “a full-blooded man, I’ve already had two strokes, and dancing’s hard work for me, but as they say, ‘If you run with the pack, you can bark or not, but at least wag your tail’” (Chekhov, 352). The importance of being seen as a strong, wealthy man is clearly seen in the landowner’s speech. As seen on the screenshot to the right, Pishchik is an obese man, somehow accenting his condition and supporting his enthusiasm towards dancing. The whole scene results quite comical: the overweight man trying to regain his breath, commenting on his medical condition and his dancing with younger individuals to a skinny, thoughtful man.

Chekhov further pursues his readers to laugh about his character’s desperation for finding money. Pishchik replies to Trofimov’s gloomy speech on the family’s need for money by stating: “Nietzsche [. . .] says in his works that it is possible to forge banknotes” (Chekhov, 353). Out of all the references Pishchik could have made on Nietzsche’s sagacity, he decides to level him to his own intellect in terms of forging currency. Trofimov questions Pishchik’s reference by asking him if he read Nietzsche, resulting in a dissimulated no, again provoking the reader’s laughter. The screenshot to the left exposes Pishchik’s deep concern and thought on these matters.

A third example of Chekhov’s comical situations occurs when Pishchik states that he is “in such a state now that I’m just about ready for forging” (Chekhov, 353). The character describes how he needs to collect some money to pay for something the day after tomorrow. As he tries to reach for the money in his pocket, he jumps out and desperately searches through his clothes, finding it in the coat’s lining. He then hugs Trofimov, as seen in the screenshot to the right, and lets the money fall to the ground. The character’s conversations seem to always deal with money, status and life’s superficial elements. The scenes in which such topics are involved result quite comical and amusing as they depict how wealthy individuals are, ironically enough, always involved and concerned with money as if they were poor, which in a way they truly are.

Lopakhin: The Businessman With Bad Handwriting

Throughout Act II of The Cherry Orchard, Chekhov characterizes Lopakhin as an individual who’s whole life is dedicated to business. As a close family friend, his opinion affects the decisions made by Yasha and her family. Early into the act, Lopakhin states that he has “never seen such frivolous, such queer, unbusinesslike people as you, my friends. You are told in plain language that your estate is to be sold, and it’s though you don’t understand it” (Chekhov, 341). Generally speaking, someone who handles business isn’t found insulting the proprietors’ skill in terms of their possessions. I would find Lopakhin’s commentary offensive and would probably dismiss him. In turn, Lyubov Andreyevna responds by asking: "But what are we to do? Tell us what to do” (Chekhov, 341). Maybe its part of Chekhov’s satire, showing that the somewhat wealthy can be truly naïve individuals.

As Lopakhin continues showing how the cherry orchard must be converted into summer cottages, we find that Lyubov is conscientious about the workers’ situation: “Cottages, summer people – forgive me, but it’s so vulgar” (Chekhov, 341). The possibility that some of the characters’ interests respond to different necessities and social classes is evident. Lopakhin, being bread in a humble family shows disgust toward his ancestors as he remembers how his father “was a peasant, an idiot; he understood nothing, taught me nothing; all he did was beat me when he was drunk, and always with a stick” (Chekhov, 343). The casualty with which Lopakhin mentions his childhood, mirrors the casualty with which day to day conversations occur. Lopakhin may have felt he was out of line in previous commentaries and needed to show himself as a humble individual through some allusion to his past.

Lopakhin continues this allusion to his childhood by saying: “I never learned anything, my handwriting’s disgusting, I write like a pig – I’m ashamed to have people see it” (Chekhov, 343). Lopakhin certainly shows to be a complex character who needs assurance of his skill and distancing from his past. As I searched for a good piece of Bill Gates’ handwriting I found the picture above, taken from a note to Ric Weiland, cofounder of Microsoft, in this article. Maybe it is a businessman’s trait to have bad handwriting. I sure hope so!