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    Compare parent/child relationships. Ranyevskaya/Anya or Varya, Bracknell/Gwendolen, Troy/Cory, Hannah/Joe Pitt, Fay/Dad (from JUMP). Choose two pairs. Does the parent intimidate the child? Does the child rebel? Does the playwright seem to side with one or the other? How is the relationship made special or is it ordinary?   



Subject Early Childhood Development Pages 5 Style APA


A Comparison of Parent-Child Relationships: Ranevskaya/Anya and/or Varya and Fay/Dad

            This essay compares a set of parent-child relationships from Jump and The Cherry Orchard. In this essay the relationship between Fay and Dad in Jump and Ranevskaya and Anya and/or Varya in The Cherry Orchard are being compared (Chekhov, 1994; Simpson & White, 2019). Anya is Ranevskaya’s daughter whereas; Varya is Ranevskaya’s adopted daughter. Anya (aged 17) is younger than Varya (aged 24) (Chekhov, 1994).  The analysis evaluates whether the parent is intimidating the child, whether the child rebels, and whether the playwright seem to side with the child or the parent. In addition, the analysis on whether the relationship is ordinary or special is also within the scope of this essay. Difficult past and life experiences, makes it difficult for Dad to have personal and close relationship with her daughter Fay in Jump. Similarly, difficult past makes Ranevskaya occupied and obsessed with sorrow due to loss of her son and possible loss of her estate and the cherry orchard and less attached to her two daughters; Anya and Varya.

            Fay’s Dad in Jump is intimidating to her daughter; Fay. This is the case especially when Fay mentions her late mother or tends to switch the conversation towards her mother. He is sure to stop her and perhaps interrupts her before she completed anything about her mum (Simpson & White, 2019). Similarly, Ranevskaya is presented in The Cherry Orchard a popular and commanding figure. She does not use a commanding voice to address her children including Anya and Varya. Ranevskaya is a symbol of the pride of the old aristocratic society where there were servants and masters. However, Ranevskaya is hit by hard times, which is perceived to soften her voice (Chekhov, 1994). Varya is controlling at times as she manages the family estate. In addition, she is described as religious and a good person. In other words, Varya is Ranevskaya’s pillar of hope and strength (Chekhov, 1994).

Both plays portray difficult relationships between parents and their children. Fay is still shocked by the death of her mother. She seems to have been depressed by it (Simpson & Fay, 2019). Ranevskaya is as well depressed following the death of her only son. The son had died five years earlier but this incident has not left her mind or subsided (Chekhov, 1994).  She finds solace on a bridge that is usually associated with suicidal deaths. Accompanying her is Hamilton, who is reported to having frequent visits to the same bridge while alone just like Fay. She likes to visit the bridge to recollect herself and to vape. Both Fay and Hamilton acknowledge to having suicidal thoughts and have planned to jump off the bridge.  However, as they share their experiences suicidal thought subsides. In that case the bridge is depicted as a sign of transition from sorrow to hope. Hamilton seems to provide comfort and protection to Fay something that she could not have been provided by her father (Simpson & White, 2019). In Jump, the child (Fay) is the one who is planning to commit suicide following the death of her mother; whereas, in The Cherry Orchard, the parent (Ranevskaya) is the one who is planning herself following the death of her son from drowning (Chekhov, 1994; Simpson & White, 2019). In The Cherry Orchard, Anya is sympathizing and sorry for her mother; regardless, she still finds the strength to love Trofimov (Chekhov, 1994).  

Fay seems rebellious to her Dad in Jump; whereas, both Varya and Anya are supportive to their mother (Chekhov, 1994). In Jump, it is evidenced by exchange of awkward exchanges between Fay and her father (Simpson & White, 2019). Fay’s speech and tone with her Dad, throughout the play is hints a singular death of sentiment. Near the end of the play, Fay’s Dad realizes that Fay is planning to go to the bridge. To make the matters worse, he learns that Fay has been visiting the bridge on multiple occasions without his knowledge. This upset Dad and leads to an angry confrontation and verbal exchange (Simpson & White, 2019). Conversely, in The Cherry Orchard the children are the ones who try as much as possible to bring their mother as close as much as possible as well as to comfort her. Anya and Varya are not rebellious to their mother even after realizing that their estate that was dear to them and their mother has been sold off to Lopakhin. Lopakhin came from the lowest social class and by now he is by far the wealthiest person among all characters in the play (Chekhov, 1994).

Just like in Jump, the playwright of The Cherry Orchard seems to side with the child rather than the parent. In Jump, Fay is the center of the story and the arguments rather than her Dad.  In The Cherry Orchard the playwright sides with the children rather than the parent. Ranevskaya is presented as a weakened person who receives emotional and psychological support from Varya and Anya (Simpson & White, 2019). The playwright gives more powers and a sense of control to Anya and Varya rather than Ranevskaya. Ranevskaya is falls in lover in Paris who abuses and mistreated her. She is rescued by her daughter; Anya. Anya fetches her mother from Paris and takes her back to Russia. Anya is portrayed as a strong and virtuous woman. Varya is authoritative; she is the one who holds the family together and manages the estate (Chekhov, 1994). Despite having gone through abuse from her Paris lover, Ranevskaya is portrayed as a forgiving and possibly desperate person since she reconsiders to go back to Paris when she is informed that her lover is sick. From her decision, Ranevskaya appears to be lacking sufficient comfort and attention from her daughters (Chekhov, 1994).

The relationship between Fay and her Dad is made ordinary; while, that of Raneveskaya and Anya and/or Varya seems special (Simpson & White, 2019). Fay and Dad relate in an ordinary parent-child relationship; whereas, the relationship between Ranevskaya and Anya and/or Varya is special since the children are the ones who takes care of their mother rather instead of their mother taking care of them (Chekhov, 1994).   It is filled with tension since both are dealing with a loss. Fay has lost her mother; whereas, Dad had lost her dear wife. Similarly, in The Cherry Orchard Ranevskaya is grieving following the death of her son. She is also unease of the fact that she was going to lose her orchard and estate to a former servant. The estate and the cherry orchard were due to be auctioned to pay Ranevskaya’s family debts. (Chekhov, 1994) The relationship between Fay and Dad goes from the extreme caring one to the confrontational type; characterized by verbal exchanges (Simpson & White, 2019).

The difficulties that his Dad in Jump and Ranevskaya in The Cherry Orchard make both parents (Dad and Ranevskaya, respectively) to have difficult complex relationships with their daughters. Ranevskaya is in a deep emotional sorrowful state that tends to hinder her form developing close personal relationship with their children (Chekhov, 1994; Simpson & White, 2019). Regardless of their (Anya and Varya), Ranevskaya is still needy of love that she reconsiders to travel back to Paris to see her lover; despite having been abused by the same lover before to the point of contemplating suicide (Chekhov, 1994). Similarly, Fay does not get sufficient love and attention from her Dad just like she used to get from her late mother as cher childhood memories informs her (Simpson & White, 2019).

In conclusion, both plays (Jump and The Cherry Orchard) demonstrate somehow distant relationships between parents and their children.  In Jump, both Dad and Fay are dealing with a difficult past. Dad lost his wife; whereas, Fay had lost a mother. The both seem to be depressed. The two (Dad and Fay) tries as much as possible to hold positive and friendly conversations. However, sometimes simple misunderstanding and deep sorrow makes both to speak harshly to one another. Fay is suicidal and loves to visit the bridge alone with intention of committing suicide. In The Cherry Orchard, Ranevskaya is also depressed following the death of her son and possible loss of the estate and the cherry orchard. Ranevskaya is reported to have attempted suicide while in Paris. Memories of the loss of the loved one and possible auction of the family estate puts more strain in Ranevskaya’s family. Both Anya and Varya are trying as much as possible to comfort their mother. As opposed to Dad who at times may sound intimidating to Fay, Ranevskaya is a passive parent who does not have much control or power over her children. Fay is rebellious to her Dad; whereas, Anya and Varya are often supported and seem to comfort their mother. In both plays the playwright gives more attention to the children rather than the parents. Lastly, but not the least, Dad and Fay demonstrates ordinary parent-child relationships; whereas Ranevskaya and Anya and/or Varya demonstrates special parent-child relationship whereby the children try to satisfy Ranevskaya’s emotional and psychological needs.






Chekhov, A. (1994). The cherry orchard. Traslated by David Magarshack Modern and Contemporary Drama edited by Mirriam Gilbert, Carl H.Klaus and Bradford S. Field, Jr. New York: St. Martin’s Press.

Simpson, E. (Playwright), & White, W. (Director). (2019). Jump. New York: PlayMakers’ Productions Ltd.




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