Tuesday, 21 April 2015


9. Explain the following extracts with reference to the context. 
(i) I beg you pardon? [Joyfully]. The mistress is home again. I've lived to see her! Don't care if I die now ... [Weeps with joy]. 
(ii) But suppose I'm dreaming! God knows I love my own country, I love it deeply; I couldn't look out of the railway carriage, I cried so much. 
(iii) O my lovely innocent childhood! Sleeping here in the nursery, looking out into the orchard, ... every morning waking up to happiness. And it is ... the same as it was, nothing's changed. 
10. Explain the following extracts with reference to the context. 
(i) You must excuse my saying so, but I've never met such frivolous people as you before, or anybody so unbusinesslike and peculiar. Here I am telling you in plain language that your estate will be sold, and you don't seem to understand. 
(ii) I'm quite sure there wasn't anything at all funny. You oughtn't to go and see plays, you ought to go and look at yourself. What a grey life you lead, what a lot you talk unnecessarily. 
(iii) Perhaps a man has a hundred senses, and when he dies only the five known to us are destroyed and the remaining ninety-five are left alive. 
11. Explain the following extracts with reference to the context. 
(i) Think, Anya, your grandfather, your great-grandfather, and all you ancestors were serf-owners, they owned living souls; and now, doesn't something human look at you from every cherry in the orchard, every leaf and every stalk? 
(ii) That love is a stone round my neck; I'm going with it to the bottom, but I love that stone and can't live without it. 
(iii) Well, good-bye, old man. It's time to go. Here we stand pulling one another's noses, but life goes its own way all the time. 
12. Is 'The Cherry Orchard' a Tragedy or Comedy? 
13. 'The Cherry Orchard' As a Political Play
14. Theme of Change in 'The Cherry Orchard'
15. Symbolism in 'The Cherry Orchard' 
16. Character Sketch of Lopakhin
Click Below to Watch the Movie of This Drama
Part One,  Part Two,  Part Three,  Part Four

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