Within the first scene, before Yepikhodov enters, Chekhov cleverly introduces the first situational irony of the play, with his juxtaposition (contradiction) of the two characters introduced such far. Dunyasha, a maid, is seen acting very ladylike (powdering her nose – which also adds to physical comedy) despite being of low class and Lopakhin, despite earning all his fame and name, cannot help but retain his peasant like manner. Their parallel actions create physical comedy for audiences and readers, who enjoy the reversal of actions within the roles.
Yepikhodov, is introduced in this section as pure comic relief. Instantly he comes across as clerk who tries to hard to impress those around him, especially Dunyasha, to whom he proposes. Yepikhodov’s habit of talking complete nonsense is satirical as it mocks his perception of being higher class. “Everyday misfortunes happen to me. But I don’t complain, I’m used to it, I even smile”. This sentence shows the extent of his clumsiness and troubles and also his stupid reaction towards them, as only an idiot would smile in the face of trouble especially if it occurred on a daily basis. Yepikhodov’s true self is very contradictory to what he pretends to be. Readers and audience enjoy the comedy he brings as he pathetically tries too hard (when he trips and seems proud of it, and calls it a remarkable circumstance) . However, while the readers are enjoying the humour, Dunyasha’s attitude towards him foreshadows the possible occurrence of a tragic event in his life, which almost brings an abrupt stop to the humour, and introduces a sense of pity for Yepikhodov. Chekhov yet again, clashes the two elements to create a conflicting character.
As all characters are brought onto the stage at the same time, Chekhov clearly uses chaos to add humour to the serious issues. As Lyubov, cries over the nursery, she recalls spending time there as a child, and Varya informing her that nothing has changed since she left, bring a very rejoicing yet tragic tone to the play as readers see the pain Lyubov faced away from her house and her family. However, just as Lyubov’s pain is introduced so is the humour. Initially, when Lyubov kisses Varya, her eldest, it’s viewed as a tender moment of reconciliation between a daughter and a mother, but Lyubov, changes the tragic tone by describing Varya as always looking a like a nun. This is clearly mocking humour, as it ridicules the tenderness by complete insensitivity on Lyubov’s part. Additionally, while the tremendous family drama takes place, Charlotta and Pishchik have their own conversation about a dog eating nuts, and Pishchik’s amazement at that. The side conversation is meant a divergence from the seriousness of Lyubov’s situation and it succeeds greatly on its goal, as the mere incredulity and stupidity of the conversation is very humourous.
The play then leans towards a more humourous tone as Dunyasha tries to engage a very tired Anya into a conversation about her personal life. Dunyasha’s obliviousness to Anya’s disinterest is very comical as it portrays Dunyasha as a very daft individual. However, this tone is destroyed with the entrance of Varya, and they start discussing the seriousness of the farm being sold and the inability of their mother to save money. The seriousness in this part takes a huge toll as not only do they talk about the impending danger on their farm, but also their dead brother, Grisha, whose memories still haunt their mother. Varya’s tears and caresses show the depth of the pain and sadness that surround the siblings, and their inability to help themselves. Though, there are yet again, instances of complete random humour that lessen the somberness of the tone. Firstly, when the discussion of their orchard being sold in August is taking place, Lopakhin sticks his head in and says “Mooo”. The absurdity of the sentence provides instantaneous humour, immediately changing the tone of the play. Additionally the conversation between Dunyasha and Yasha, when he embraces her and calls her a cucumber also provides comic relief which lessens the full serious effect of the conversation to follow.
Chekhov’s play The Cherry Orchard (throughout this act) is a masterpiece in the way it combines tragedy and comedy into one dialogue. This play succeeded in telling a story while it shined in its most comic moments, and dulled in its tragic mourning. The play clearly exhibits both a comic perception as well as a tragic one. The comedy, although more directly comes from the characters themselves, would be half as noticeable without the tragic occurrences of the family and those surrounding them. Just as with comedy, the tragic moments would not seem as tragic without the comic outbursts of the characters and their repeated failing actions.
