|Born||Anton Pavlovich Chekhov
29 January 1860
|Died||15 July 1904
Badenweiler, German Empire
|Resting place||Novodevichy Cemetery|
|Occupation||Physician, short story writer, playwright|
Anton Pavlovich Chekhov (Russian: Анто́н Па́влович Че́хов, pronounced [ɐnˈton ˈpavləvʲɪt͡ɕ ˈt͡ɕexəf]; 29 January 1860 – 15 July 1904) was a Russian physician, dramaturge and author who is considered to be among the greatest writers of short stories in history. His career as a dramatist produced four classics and his best short stories are held in high esteem by writers and critics. Chekhov practised as a medical doctor throughout most of his literary career: "Medicine is my lawful wife", he once said, "and literature is my mistress." Along with Henrik Ibsen and August Strindberg, Chekhov is often referred to as one of the three seminal figures in the birth of early modernism in the theater.
Chekhov renounced the theatre after the disastrous reception of The Seagull in 1896, but the play was revived to acclaim in 1898 by Constantin Stanislavski's Moscow Art Theatre, which subsequently also produced Chekhov's Uncle Vanya and premiered his last two plays, Three Sisters and The Cherry Orchard. These four works present a challenge to the acting ensemble as well as to audiences, because in place of conventional action Chekhov offers a "theatre of mood" and a "submerged life in the text."
Chekhov had at first written stories only for financial gain, but as his artistic ambition grew, he made formal innovations which have influenced the evolution of the modern short story. His originality consists in an early use of the stream-of-consciousness technique, later adopted by James Joyce and other modernists, combined with a disavowal of the moral finality of traditional story structure. He made no apologies for the difficulties this posed to readers, insisting that the role of an artist was to ask questions, not to answer them.
Anton Chekhov was born on the feast day of St. Anthony the Great (17 January Old Style) 29 January 1860, the third of six surviving children, in Taganrog, a port on the Sea of Azov in southern Russia. His father, Pavel Yegorovich Chekhov, the son of a former serf, was from a village Vilkhovatka near Kobeliaky (Poltava Region in modern-day Ukraine) and ran a grocery store. A director of the parish choir, devout Orthodox Christian, and physically abusive father, Pavel Chekhov has been seen by some historians as the model for his son's many portraits of hypocrisy. Chekhov's mother, Yevgeniya, was an excellent storyteller who entertained the children with tales of her travels with her cloth-merchant father all over Russia. "Our talents we got from our father," Chekhov remembered, "but our soul from our mother." In adulthood, Chekhov criticised his brother Alexander's treatment of his wife and children by reminding him of Pavel's tyranny: "Let me ask you to recall that it was despotism and lying that ruined your mother's youth. Despotism and lying so mutilated our childhood that it's sickening and frightening to think about it. Remember the horror and disgust we felt in those times when Father threw a tantrum at dinner over too much salt in the soup and called Mother a fool."
Chekhov attended a school for Greek boys, followed by the Taganrog gymnasium, now renamed the Chekhov Gymnasium, where he was kept down for a year at fifteen for failing a Greek exam. He sang at the Greek Orthodox monastery in Taganrog and in his father's choirs. In a letter of 1892, he used the word "suffering" to describe his childhood and recalled:
When my brothers and I used to stand in the middle of the church and sing the trio "May my prayer be exalted", or "The Archangel's Voice", everyone looked at us with emotion and envied our parents, but we at that moment felt like little convicts.
In 1876, Chekhov's father was declared bankrupt after over-extending his finances building a new house, and to avoid the debtor's prison fled to Moscow, where his two eldest sons, Alexander and Nikolay, were attending university. The family lived in poverty in Moscow, Chekhov's mother physically and emotionally broken. Chekhov was left behind to sell the family possessions and finish his education.
Chekhov remained in Taganrog for three more years, boarding with a man called Selivanov who, like Lopakhin in The Cherry Orchard, had bailed out the family for the price of their house. Chekhov had to pay for his own education, which he managed by—among other jobs—private tutoring, catching and selling goldfinches, and selling short sketches to the newspapers. He sent every ruble he could spare to Moscow, along with humorous letters to cheer up the family. During this time, he read widely and analytically, including Cervantes, Turgenev, Goncharov, and Schopenhauer; and he wrote a full-length comedy drama, Fatherless, which his brother Alexander dismissed as "an inexcusable though innocent fabrication." Chekhov also enjoyed a series of love affairs, one with the wife of a teacher.
In 1879, Chekhov completed his schooling and joined his family in Moscow, having gained admission to the medical school at I.M. Sechenov First Moscow State Medical University.
Chekhov now assumed responsibility for the whole family. To support them and to pay his tuition fees, he wrote daily short, humorous sketches and vignettes of contemporary Russian life, many under pseudonyms such as "Antosha Chekhonte" (Антоша Чехонте) and "Man without a Spleen" (Человек без селезенки). His prodigious output gradually earned him a reputation as a satirical chronicler of Russian street life, and by 1882 he was writing for Oskolki (Fragments), owned by Nikolai Leykin, one of the leading publishers of the time. Chekhov's tone at this stage was harsher than that familiar from his mature fiction.
In 1884, Chekhov qualified as a physician, which he considered his principal profession though he made little money from it and treated the poor free of charge. In 1884 and 1885, Chekhov found himself coughing blood, and in 1886 the attacks worsened; but he would not admit tuberculosis to his family and friends, confessing to Leykin, "I am afraid to submit myself to be sounded by my colleagues." He continued writing for weekly periodicals, earning enough money to move the family into progressively better accommodation. Early in 1886 he was invited to write for one of the most popular papers in St. Petersburg, Novoye Vremya (New Times), owned and edited by the millionaire magnate Alexey Suvorin, who paid per line a rate double Leykin's and allowed him three times the space. Suvorin was to become a lifelong friend, perhaps Chekhov's closest.
Before long, Chekhov was attracting literary as well as popular attention. The sixty-four-year-old Dmitry Grigorovich, a celebrated Russian writer of the day, wrote to Chekhov after reading his short story The Huntsman, "You have real talent—a talent which places you in the front rank among writers in the new generation." He went on to advise Chekhov to slow down, write less, and concentrate on literary quality.
Chekhov replied that the letter had struck him "like a thunderbolt" and confessed, "I have written my stories the way reporters write up their notes about fires—mechanically, half-consciously, caring nothing about either the reader or myself." The admission may have done Chekhov a disservice, since early manuscripts reveal that he often wrote with extreme care, continually revising. Grigorovich's advice nevertheless inspired a more serious, artistic ambition in the twenty-six-year-old. In 1887, with a little string-pulling by Grigorovich, the short story collection At Dusk (V Sumerkakh) won Chekhov the coveted Pushkin Prize "for the best literary production distinguished by high artistic worth."
That year, exhausted from overwork and ill health, Chekhov took a trip to Ukraine which reawakened him to the beauty of the steppe. On his return, he began the novella-length short story The Steppe, "something rather odd and much too original," eventually published in Severny Vestnik (The Northern Herald). In a narrative which drifts with the thought processes of the characters, Chekhov evokes a chaise journey across the steppe through the eyes of a young boy sent to live away from home, his companions a priest and a merchant. The Steppe, which has been called a "dictionary of Chekhov's poetics", represented a significant advance for Chekhov, exhibiting much of the quality of his mature fiction and winning him publication in a literary journal rather than a newspaper.
In autumn 1887, a theatre manager named Korsh commissioned Chekhov to write a play, the result being Ivanov, written in a fortnight and produced that November. Though Chekhov found the experience "sickening", and painted a comic portrait of the chaotic production in a letter to his brother Alexander, the play was a hit and was praised, to Chekhov's bemusement, as a work of originality. Mikhail Chekhov considered Ivanov a key moment in his brother's intellectual development and literary career. From this period comes an observation of Chekhov's which has become known as "Chekhov's gun", a dramatic principle that requires every element in a narrative be necessary and irreplaceable, and that everything else be removed.
Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it's not going to be fired, it shouldn't be hanging there.
The death of Chekhov's brother Nikolay from tuberculosis in 1889 influenced A Dreary Story, finished that September, about a man who confronts the end of a life which he realises has been without purpose. Mikhail Chekhov, who recorded his brother's depression and restlessness after Nikolay's death, was researching prisons at the time as part of his law studies, and Anton Chekhov, in a search for purpose in his own life, himself soon became obsessed with the issue of prison reform.
In 1890, Chekhov undertook an arduous journey by train, horse-drawn carriage, and river steamer to the far east of Russia and the katorga, or penal colony, on Sakhalin Island, north of Japan, where he spent three months interviewing thousands of convicts and settlers for a census. The letters Chekhov wrote during the two-and-a-half-month journey to Sakhalin are considered to be among his best. His remarks to his sister about Tomsk were to become notorious.
"Tomsk is a very dull town. To judge from the drunkards whose acquaintance I have made, and from the intellectual people who have come to the hotel to pay their respects to me, the inhabitants are very dull, too."
The inhabitants of Tomsk later retaliated by erecting a mocking statue of Chekhov.
Chekhov witnessed much on Sakhalin that shocked and angered him, including floggings, embezzlement of supplies, and forced prostitution of women. He wrote, "There were times I felt that I saw before me the extreme limits of man's degradation." He was particularly moved by the plight of the children living in the penal colony with their parents. For example:
"On the Amur steamer going to Sakhalin, there was a convict who had murdered his wife and wore fetters on his legs. His daughter, a little girl of six, was with him. I noticed wherever the convict moved the little girl scrambled after him, holding on to his fetters. At night the child slept with the convicts and soldiers all in a heap together."
Chekhov later concluded that charity and subscription were not the answer, but that the government had a duty to finance humane treatment of the convicts. His findings were published in 1893 and 1894 as Ostrov Sakhalin (The Island of Sakhalin), a work of social science – not literature – worthy and informative rather than brilliant. Chekhov found literary expression for the "Hell of Sakhalin" in his long short story The Murder, the last section of which is set on Sakhalin, where the murderer Yakov loads coal in the night, longing for home. Chekhov's writing on Sakhalin is the subject of brief comment and analysis in Japanese writer Haruki Murakami's novel 1Q84. It is also the subject of a poem by the Nobel prize winner Seamus Heaney entitled Chekhov on Sakhalin collected in the volume Station Island.
In 1892, Chekhov bought the small country estate of Melikhovo, about forty miles south of Moscow, where he lived until 1899 with his family. "It's nice to be a lord," he joked to his friend Ivan Leontyev (who wrote humorous pieces under the pseudonym Shcheglov), but he took his responsibilities as a landlord seriously and soon made himself useful to the local peasants. As well as organising relief for victims of the famine and cholera outbreaks of 1892, he went on to build three schools, a fire station, and a clinic, and to donate his medical services to peasants for miles around, despite frequent recurrences of his tuberculosis.
Mikhail Chekhov, a member of the household at Melikhovo, described the extent of his brother's medical commitments:
From the first day that Chekhov moved to Melikhovo, the sick began flocking to him from twenty miles around. They came on foot or were brought in carts, and often he was fetched to patients at a distance. Sometimes from early in the morning peasant women and children were standing before his door waiting.
Chekhov's expenditure on drugs was considerable, but the greatest cost was making journeys of several hours to visit the sick, which reduced his time for writing. Chekhov's work as a doctor, however, enriched his writing by bringing him into intimate contact with all sections of Russian society: for example, he witnessed at first hand the peasants' unhealthy and cramped living conditions, which he recalled in his short story Peasants. Chekhov visited the upper classes as well, recording in his notebook: "Aristocrats? The same ugly bodies and physical uncleanliness, the same toothless old age and disgusting death, as with market-women."
Chekhov began writing his play The Seagull in 1894, in a lodge he had built in the orchard at Melikhovo. In the two years since moving to the estate, he had refurbished the house, taken up agriculture and horticulture, tended orchard and pond, and planted many trees, which, according to Mikhail, he "looked after ... as though they were his children. Like Colonel Vershinin in his Three Sisters, as he looked at them he dreamed of what they would be like in three or four hundred years."
The first night of The Seagull on 17 October 1896 at the Alexandrinsky Theatre in St. Petersburg was a fiasco, booed by the audience, and the play's reception stung Chekhov into renouncing the theatre. But the play so impressed the theatre director Vladimir Nemirovich-Danchenko that he convinced his colleague Constantin Stanislavski to direct it for the innovative Moscow Art Theatre in 1898. Stanislavski's attention to psychological realism and ensemble playing coaxed the buried subtleties from the text and restored Chekhov's interest in playwriting. The Art Theatre commissioned more plays from Chekhov and the following year staged Uncle Vanya, which Chekhov had completed in 1896.
In March 1897 Chekhov suffered a major haemorrhage of the lungs while on a visit to Moscow. With great difficulty he was persuaded to enter a clinic, where the doctors diagnosed tuberculosis on the upper part of his lungs and ordered a change in his manner of life.
After his father's death in 1898, Chekhov bought a plot of land on the outskirts of Yalta and built a villa there, into which he moved with his mother and sister the following year. Though he planted trees and flowers in Yalta, kept dogs and tame cranes, and received guests such as Leo Tolstoy and Maxim Gorky, Chekhov was always relieved to leave his "hot Siberia" for Moscow or travels abroad. He vowed to move to Taganrog as soon as a water supply was installed there. In Yalta he completed two more plays for the Art Theatre, composing with greater difficulty than in the days when he "wrote serenely, the way I eat pancakes now"; he took a year each over Three Sisters and The Cherry Orchard.
On 25 May 1901 Chekhov married Olga Knipper—quietly, owing to his horror of weddings—a former protegée and sometime lover of Nemirovich-Danchenko whom he had first met at rehearsals for The Seagull. Up to that point, Chekhov, called "Russia's most elusive literary bachelor", had preferred passing liaisons and visits to brothels over commitment; he had once written to Suvorin:
By all means I will be married if you wish it. But on these conditions: everything must be as it has been hitherto—that is, she must live in Moscow while I live in the country, and I will come and see her ... give me a wife who, like the moon, won't appear in my sky every day.
The letter proved prophetic of Chekhov's marital arrangements with Olga: he lived largely at Yalta, she in Moscow, pursuing her acting career. In 1902, Olga suffered a miscarriage; and Donald Rayfield has offered evidence, based on the couple's letters, that conception may have occurred when Chekhov and Olga were apart, although Russian scholars have refuted that claim. The literary legacy of this long-distance marriage is a correspondence which preserves gems of theatre history, including shared complaints about Stanislavski's directing methods and Chekhov's advice to Olga about performing in his plays.
In Yalta, Chekhov wrote one of his most famous stories, "The Lady with the Dog" (also called "Lady with Lapdog"), which depicts what at first seems a casual liaison between a married man and a married woman in Yalta. Neither expects anything lasting from the encounter, but they find themselves drawn back to each other, risking the security of their family lives.
By May 1904, Chekhov was terminally ill with tuberculosis. Mikhail Chekhov recalled that "everyone who saw him secretly thought the end was not far off, but the nearer [he] was to the end, the less he seemed to realise it." On 3 June he set off with Olga for the German spa town of Badenweiler in the Black Forest, from where he wrote outwardly jovial letters to his sister Masha describing the food and surroundings and assuring her and his mother that he was getting better. In his last letter, he complained about the way the German women dressed.
Chekhov's death has become one of "the great set pieces of literary history", retold, embroidered, and fictionalised many times since, notably in the short story "Errand" by Raymond Carver. In 1908, Olga wrote this account of her husband's last moments:
Anton sat up unusually straight and said loudly and clearly (although he knew almost no German): Ich sterbe ("I'm dying"). The doctor calmed him, took a syringe, gave him an injection of camphor, and ordered champagne. Anton took a full glass, examined it, smiled at me and said: "It's a long time since I drank champagne." He drained it, lay quietly on his left side, and I just had time to run to him and lean across the bed and call to him, but he had stopped breathing and was sleeping peacefully as a child ...
Chekhov's body was transported to Moscow in a refrigerated railway car for fresh oysters, a detail which offended Gorky. Some of the thousands of mourners followed the funeral procession of a General Keller by mistake, to the accompaniment of a military band. Chekhov was buried next to his father at the Novodevichy Cemetery.
A few months before he died, Chekhov told the writer Ivan Bunin he thought people might go on reading him for seven years. "Why seven?" asked Bunin. "Well, seven and a half," Chekhov replied. "That's not bad. I've got six years to live."
Always modest, Chekhov could hardly have imagined the extent of his posthumous reputation. The ovations for the play, The Cherry Orchard, in the year of his death showed him how high he had risen in the affection of the Russian public—by then he was second in literary celebrity only to Tolstoy, who outlived him by six years—but after his death, Chekhov's fame soon spread further afield. Constance Garnett's translations won him an English-language readership and the admiration of writers such as James Joyce, Virginia Woolf, and Katherine Mansfield. The issues surrounding the close similarities between Mansfield's 1910 story "The Child Who Was Tired" and Chekhov's "Sleepy" are summarised in William H. New's Reading Mansfield and Metaphors of Reform The Russian critic D.S. Mirsky, who lived in England, explained Chekhov's popularity in that country by his "unusually complete rejection of what we may call the heroic values." In Russia itself, Chekhov's drama fell out of fashion after the revolution but was later adapted to the Soviet agenda, with the character Lopakhin, for example, reinvented as a hero of the new order, taking an axe to the cherry orchard.
One of the first non-Russians to praise Chekhov's plays was George Bernard Shaw, who subtitled his Heartbreak House "A Fantasia in the Russian Manner on English Themes" and noted similarities between the predicament of the British landed class and that of their Russian counterparts as depicted by Chekhov: "the same nice people, the same utter futility."
In America, Chekhov's reputation began its rise slightly later, partly through the influence of Stanislavski's system of acting, with its notion of subtext: "Chekhov often expressed his thought not in speeches," wrote Stanislavski, "but in pauses or between the lines or in replies consisting of a single word ... the characters often feel and think things not expressed in the lines they speak." The Group Theatre, in particular, developed the subtextual approach to drama, influencing generations of American playwrights, screenwriters, and actors, including Clifford Odets, Elia Kazan and, in particular, Lee Strasberg. In turn, Strasberg's Actors Studio and the "Method" acting approach influenced many actors, including Marlon Brando and Robert De Niro, though by then the Chekhov tradition may have been distorted by a preoccupation with realism. In 1981, the playwright Tennessee Williams adapted The Seagull as The Notebook of Trigorin. One of Anton's nephews, Michael Chekhov would also contribute heavily to modern theatre, particularly through his unique acting methods which differed from Stanislavski's.
Despite Chekhov's eminence as a playwright, some writers believe his short stories represent the greater achievement. Raymond Carver, who wrote the short story "Errand" about Chekhov's death, believed Chekhov the greatest of all short story writers:
Chekhov's stories are as wonderful (and necessary) now as when they first appeared. It is not only the immense number of stories he wrote—for few, if any, writers have ever done more—it is the awesome frequency with which he produced masterpieces, stories that shrive us as well as delight and move us, that lay bare our emotions in ways only true art can accomplish.
Ernest Hemingway, another writer influenced by Chekhov, was more grudging: "Chekhov wrote about 6 good stories. But he was an amateur writer." And Vladimir Nabokov once complained of Chekhov's "medley of dreadful prosaisms, ready-made epithets, repetitions." But he also declared "The Lady with the Dog" "one of the greatest stories ever written" and described Chekhov as writing "the way one person relates to another the most important things in his life, slowly and yet without a break, in a slightly subdued voice."
For the writer William Boyd, Chekhov's breakthrough was to abandon what William Gerhardie called the "event plot" for something more "blurred, interrupted, mauled or otherwise tampered with by life."
Virginia Woolf mused on the unique quality of a Chekhov story in The Common Reader (1925):
But is it the end, we ask? We have rather the feeling that we have overrun our signals; or it is as if a tune had stopped short without the expected chords to close it. These stories are inconclusive, we say, and proceed to frame a criticism based upon the assumption that stories ought to conclude in a way that we recognise. In so doing we raise the question of our own fitness as readers. Where the tune is familiar and the end emphatic—lovers united, villains discomfited, intrigues exposed—as it is in most Victorian fiction, we can scarcely go wrong, but where the tune is unfamiliar and the end a note of interrogation or merely the information that they went on talking, as it is in Tchekov, we need a very daring and alert sense of literature to make us hear the tune, and in particular those last notes which complete the harmony.
While a Professor of Comparative Literature at Princeton University, Michael Goldman presented his view on defining the elusive quality of Chekhov's comedies stating: "Having learned that Chekhov is comic... Chekhov is comic in a very special, paradoxical way. His plays depend, as comedy does, on the vitality of the actors to make pleasurable what would otherwise be painfully awkward -- inappropriate speeches, missed connections, faux pas, stumbles, childishness -- but as part of a deeper pathos; the stumbles are not pratfalls but an energized, graceful dissolution of purpose."
Portrait by Isaac Levitan, 1886
Portrait by Valentin Serov, 1903
Modern production of The Seagull
- Maria Chekhova
- Ann Dunnigan, English-language translator
- Jean-Claude van Itallie, English-language translator
- Flash fiction
- List of short stories by Anton Chekhov
- Old Style date 17 January.
- Old Style date 2 July.
- "Greatest short story writer who ever lived." Raymond Carver (in Rosamund Bartlett's introduction to About Love and Other Stories, XX); "Quite probably. the best short-story writer ever." A Chekhov Lexicon, by William Boyd, The Guardian, 3 July 2004. Retrieved 16 February 2007.
- "Stories ... which are among the supreme achievements in prose narrative." Vodka miniatures, belching and angry cats, George Steiner's review of The Undiscovered Chekhov, in The Observer, 13 May 2001. Retrieved 16 February 2007.
- Letter to Alexei Suvorin, 11 September 1888. Letters of Anton Chekhov.
- Harold Bloom, Genius: A Study of One Hundred Exemplary Authors.
- "Actors climb up Chekhov like a mountain, roped together, sharing the glory if they ever make it to the summit". Actor Ian McKellen, quoted in Miles, 9.
- "Chekhov's art demands a theatre of mood." Vsevolod Meyerhold, quoted in Allen, 13; "A richer submerged life in the text is characteristic of a more profound drama of realism, one which depends less on the externals of presentation." Styan, 84.
- "Chekhov is said to be the father of the modern short story". Malcolm, 87; "He brought something new into literature." James Joyce, in Arthur Power, Conversations with James Joyce, Usborne Publishing Ltd, 1974, ISBN 978-0-86000-006-8, 57; "Tchehov's breach with the classical tradition is the most significant event in modern literature", John Middleton Murry, in Athenaeum, 8 April 1922, cited in Bartlett's introduction to About Love, XX.
- "This use of stream-of-consciousness would, in later years, become the basis of Chekhov's innovation in stagecraft; it is also his innovation in fiction." Wood, 81; "The artist must not be the judge of his characters and of their conversations, but merely an impartial witness." Letter to Suvorin, 30 May 1888; In reply to an objection that he wrote about horse-thieves (The Horse-Stealers. Retrieved 16 February 2007) without condemning them, Chekhov said readers should add for themselves the subjective elements lacking in the story. Letter to Suvorin, 1 April 1890. Letters of Anton Chekhov.
- "You are right in demanding that an artist should take an intelligent attitude to his work, but you confuse two things: solving a problem and stating a problem correctly. It is only the second that is obligatory for the artist." Letter to Suvorin, 27 October 1888. Letters of Anton Chekhov.
- Wood, 78.
- Payne, XVII.
- Simmons, 18.
- From the biographical sketch, adapted from a memoir by Chekhov's brother Mihail, which prefaces Constance Garnett's translation of Chekhov's letters, 1920.
- Letter to brother Alexander, 2 January 1889, in Malcolm, p. 102.
- Another insight into Chekhov's childhood came in a letter to his publisher and friend Alexei Suvorin: "From my childhood I have believed in progress, and I could not help believing in it since the difference between the time when I used to be thrashed and when they gave up thrashing me was tremendous." Letter to Suvorin, 27 March 1894. Letters of Anton Chekhov.
- Bartlett, 4–5.
- Letter to I.L. Shcheglov, 9 March 1892. Letters of Anton Chekhov.
- Tabachnikova, Olga (2010). Anton Chekhov Through the Eyes of Russian Thinkers: Vasilii Rozanov, Dmitrii Merezhkovskii and Lev Shestov. Anthem Press. p. 26. ISBN 978-1-84331-841-5. "For Rozanov, Chekhov represents a concluding stage of classical Russian literature at the turn of the centuries, caused by the 'fading' of a thousand' years old Christian tradition which was spiritually feeding this literature. On the one hand, Rozanov regards Chekhov's positivism and atheism as his shortcomings, naming them amongst the reasons of Chekhov's popularity in society."
- Chekhov, Anton Pavlovich (1997). Karlinsky, Simon; Heim, Michael Henry, eds. Anton Chekhov's Life and Thought: Selected Letters and Commentary. Northwestern University Press. p. 13. ISBN 978-0-8101-1460-9. "While Anton did not turn into the kind of militant atheist that his older brother Alexander eventually became, there is no doubt that he was a nonbeliever in the last decades of his life."
- Richard Pevear (2009). Selected Stories of Anton Chekov. Random House Digital, Inc. pp. xxii. ISBN 978-0-307-56828-1. "In his revelation of those evangelical elements," writes Leonid Grossman, "the atheist Chekhov is unquestionably one of the most Christian poets of world literature."
- He had been cheated by a contractor called Mironov. Rayfield, 31.
- Letter to cousin Mihail, 10 May 1877. Letters of Anton Chekhov.
- Malcolm, 25.
- Payne, XX.
- Letter to brother Mihail, 1 July 1876. Letters of Anton Chekhov.
- Simmons, 26.
- Simmons, 33.
- Rayfield, 69.
- Wood, 79.
- Rayfield, 91.
- "There is in these miniatures an arresting potion of cruelty ... The wonderfully compassionate Chekhov was yet to mature." Vodka miniatures, belching and angry cats, George Steiner's review of The Undiscovered Chekhov in The Observer, 13 May 2001. Retrieved 16 February 2007.
- Willis, Louis (27 January 2013). "Chekhov's Crime Stories". Literary and Genre. Knoxville: SleuthSayers.
- Malcolm, 26.
- Letter to N.A.Leykin, 6 April 1886. Letters of Anton Chekhov.
- Rayfield, 128.
- They only ever fell out once, when Chekhov objected to the anti-Semitic attacks in New Times against Dreyfus and Zola in 1898. Rayfield, 448–50.
- In many ways, the right-wing Suvorin, whom Lenin later called "The running dog of the Tzar" (Payne, XXXV), was Chekhov's opposite; "Chekhov had to function like Suvorin's kidney, extracting the businessman's poisons." Wood, 79.
- The Huntsman.. Retrieved 16 February 2007.
- Malcolm, 32–3.
- Payne, XXIV.
- Simmons, 160.
- "There is a scent of the steppe and one hears the birds sing. I see my old friends the ravens flying over the steppe." Letter to sister Masha, 2 April 1887. Letters of Anton Chekhov.
- Letter to Grigorovich, 12 January 1888. Quoted by Malcolm, 137.
- "The Steppe, as Michael Finke suggests, is 'a sort of dictionary of Chekhov's poetics,' a kind of sample case of the concealed literary weapons Chekhov would deploy in his work to come." Malcolm, 147.
- From the biographical sketch, adapted from a memoir by Chekhov's brother Mikhail, which prefaces Constance Garnett's translation of Chekhov's letters, 1920.
- Letter to brother Alexander, 20 November 1887. Letters of Anton Chekhov.
- Petr Mikhaĭlovich Bit︠s︡illi (1983), Chekhov's art, a stylistic analysis, Ardis, p. x
- Daniel S. Burt (2008), The Literature 100: A Ranking of the Most Influential Novelists, Playwrights, and Poets of All Time, Infobase Publishing
- Valentine T. Bill (1987), Chekhov: The Silent Voice of Freedom, Philosophical Library
- S. Shchukin, Memoirs (1911)
- A Dreary Story.. Retrieved 16 February 2007.
- Simmons, 186–91.
- Malcolm, 129.
- Simmons, 223.
- Rayfield, 224.
- Letter to sister, Masha, 20 May 1890. Letters of Anton Chekhov.
- Wood, 85.
- Rayfield 230.
- Letter to A.F.Koni, 16 January 1891. Letters of Anton Chekhov.
- Malcolm, 125.
- Such is the general critical view of the work, but Simmons calls it a "valuable and intensely human document." Simmons, 229.
- The Murder.. Retrieved 16 February 2007.
- Murakami, Haruki. 1Q84. Alfred A. Knopf: New York, 2011.
- Heaney, Seamus. Station Island Farrar Straus Giroux: New York, 1985.
- Payne, XXXI.
- From the biographical sketch, adapted from a memoir by Chekhov's brother Mikhail, which prefaces Constance Garnett's translation of Chekhov's letters, 1920.
- From the biographical sketch, adapted from a memoir by Chekhov's brother Mihail, which prefaces Constance Garnett's translation of Chekhov's letters, 1920.
- Note-Book.. Retrieved 16 February 2007.
- Rayfield, 394–8.
- Benedetti, Stanislavski: An Introduction, 25.
- Chekhov and the Art Theatre, in Stanislavski's words, were united in a common desire "to achieve artistic simplicity and truth on the stage." Allen, 11.
- Rayfield, 390–1. Rayfield draws from his critical study Chekhov's "Uncle Vanya" and the "Wood Demon" (1995), which anatomised the evolution of the Wood Demon into Uncle Vanya—"one of Chekhov's most furtive achievements."
- Letter to Suvorin, 1 April 1897. Letters of Anton Chekhov.
- Olga Knipper, "Memoir", in Benedetti, Dear Writer, Dear Actress, 37, 270.
- Bartlett, 2.
- Malcolm, 170–71.
- "I have a horror of weddings, the congratulations and the champagne, standing around, glass in hand with an endless grin on your face." Letter to Olga Knipper, 19 April 1901.
- Benedetti, Dear Writer, Dear Actress, 125.
- "Olga's relations with Vladimir Nemirovich-Danchenko were more than professional." Rayfield, 500.
- Harvey Pitcher in Chekhov's Leading Lady, quoted in Malcolm, 59.
- "Chekhov had the temperament of a philanderer. Sexually, he preferred brothels or swift liaisons." Wood, 78.
- Letter to Suvorin, 23 March 1895. Letters of Anton Chekhov.
- Rayfield also tentatively suggests, drawing on obstetric clues, that Olga suffered an ectopic pregnancy rather than a miscarriage. Rayfield, 556–57.
- There was certainly tension between the couple after the miscarriage, though Simmons, 569, and Benedetti, Dear Writer, Dear Actress, 241, put this down to Chekhov's mother and sister blaming the miscarriage on Olga's late-night lifestyle of socialising with her actor friends.
- Benedetti, Dear Writer, Dear Actress: The Love Letters of Olga Knipper and Anton Chekhov.
- Rosamund, Bartlett (2 February 2010). "The House That Chekhov Built". Evening Standard. p. 31.
- Greenberg, Yael. "The Presentation of the Unconscious in Chekhov's Lady With Lapdog." Modern Language Review 86.1 (1991): 126–130. Academic Search Premier. Web. 3 November 2011.
- "Overview: 'The Lady with the Dog'." Characters in 20th-Century Literature. Laurie Lanzen Harris. Detroit: Gale Research, 1990. Literature Resource Center. Web. 3 November 2011.
- Letter to sister Masha, 28 June 1904. Letters of Anton Chekhov.
- Malcolm, 62.
- Olga Knipper, Memoir, in Benedetti, Dear Writer, Dear Actress, 284.
- "Banality revenged itself upon him by a nasty prank, for it saw that his corpse, the corpse of a poet, was put into a railway truck 'For the Conveyance of Oysters'." Maxim Gorky in Reminiscences of Anton Chekhov.. Retrieved 16 February 2007.
- Chekhov's Funeral. M. Marcus.The Antioch Review, 1995
- Malcolm, 91; Alexander Kuprin in Reminiscences of Anton Chekhov. Retrieved 16 February 2007
- "Novodevichy Cemetery". Passport Magazine. April 2008. Retrieved 12 September 2013.
- Payne, XXXVI.
- Tolstoy, a great admirer of Chekhov's short stories, divided them into two groups of "first quality" and "second quality." In the first category were: "Children", "The Chorus Girl", "A Play", "Home", "Misery", "The Runaway", "In Court", "Vanka", "Ladies", "The Malefactors", "The Boys", "Darkness", "Sleepy", "The Helpmate", and "The Darling"; in the second: "A Transgression", "Sorrow", "The Witch", "Verochka", "In a Strange Land", "The Cook's Wedding", "A Tedious Business", "An Upheaval", "Oh! The Public!", "The Mask", "A Woman's Luck", "Nerves", "The Wedding", "A Defenseless Creature", and "Peasant Wives". He had these stories bound into a book, which he read repeatedly with great satisfaction. – Simmons, p. 595.
- Reading Mansfield and Metaphors of Reform. McGill-Queen's Press. 1999. pp. 15–17. ISBN 978-0-7735-1791-2.
- Wood, 77.
- Allen, 88.
- "They won't allow a play which is seen to lament the lost estates of the gentry." Letter of Vladimir Nemirovich-Danchenko, quoted by Anatoly Smeliansky in "Chekhov at the Moscow Art Theatre", from The Cambridge Companion to Chekhov, 31–2.
- Anna Obraztsova in "Bernard Shaw's Dialogue with Chekhov", from Miles, 43–4.
- Reynolds, Elizabeth (ed), Stanislavski's Legacy, Theatre Arts Books, 1987, ISBN 978-0-87830-127-0, 81, 83.
- "It was Chekhov who first deliberately wrote dialogue in which the mainstream of emotional action ran underneath the surface. It was he who articulated the notion that human beings hardly ever speak in explicit terms among each other about their deepest emotions, that the great, tragic, climactic moments are often happening beneath outwardly trivial conversation." Martin Esslin, from Text and Subtext in Shavian Drama, in 1922: Shaw and the last Hundred Years, ed. Bernard. F. Dukore, Penn State Press, 1994, ISBN 978-0-271-01324-4, 200.
- "Lee Strasberg became in my opinion a victim of the traditional idea of Chekhovian theatre ... [he left] no room for Chekhov's imagery." Georgii Tostonogov on Strasberg's production of Three Sisters in The Drama Review (winter 1968), quoted by Styan, 121.
- "The plays lack the seamless authority of the fiction: there are great characters, wonderful scenes, tremendous passages, moments of acute melancholy and sagacity, but the parts appear greater than the whole." A Chekhov Lexicon, by William Boyd, The Guardian, 3 July 2004. Retrieved 16 February 2007.
- Bartlett, From Russia, with Love, The Guardian, 15 July 2004. Retrieved 17 February 2007.
- Letter from Ernest Hemingway to Archibald MacLeish, 1925 (from Selected Letters, p. 179), in Ernest Hemingway on Writing, Ed Larry W. Phillips, Touchstone, (1984) 1999, ISBN 978-0-684-18119-6, 101.
- Wood, 82.
- From Vladimir Nabokov's Lectures on Russian Literature, quoted by Francine Prose in Learning from Chekhov, 231.
- "For the first time in literature the fluidity and randomness of life was made the form of the fiction. Before Chekhov, the event-plot drove all fictions." William Boyd, referring to the novelist William Gerhardie's analysis in Anton Chekhov: A Critical Study, 1923. A Chekhov Lexicon, by William Boyd, The Guardian, 3 July 2004. Retrieved 16 February 2007.
- Woolf, Virginia, The Common Reader: First Series, Annotated Edition, Harvest/HBJ Book, 2002, ISBN 0-15-602778-X, 172.
- Michael Goldman, The Actor's Freedom: Towards a Theory of Drama, p72.
- Rayfield, Donald (1997). Anton Chekhov: A Life. ISBN 0-00-255503-4.
- Allen, David, Performing Chekhov, Routledge (UK), 2001, ISBN 978-0-415-18934-7
- Bartlett, Rosamund, and Anthony Phillips (translators), Chekhov: A Life in Letters, Penguin Books, 2004, ISBN 978-0-14-044922-8
- Bartlett, Rosamund, Chekhov: Scenes from a Life, Free Press, 2004, ISBN 978-0-7432-3074-2
- Benedetti, Jean (editor and translator), Dear Writer, Dear Actress: The Love Letters of Olga Knipper and Anton Chekhov, Methuen Publishing Ltd, 1998 edition, ISBN 978-0-413-72390-1
- Benedetti, Jean, Stanislavski: An Introduction, Methuen Drama, 1989 edition, ISBN 978-0-413-50030-4
- Chekhov, Anton, About Love and Other Stories, translated by Rosamund Bartlett, Oxford University Press, 2004, ISBN 978-0-19-280260-6
- Chekhov, Anton, The Undiscovered Chekhov: Fifty New Stories, translated by Peter Constantine, Duck Editions, 2001, ISBN 978-0-7156-3106-5
- Chekhov, Anton, Easter Week, translated by Michael Henry Heim, engravings by Barry Moser, Shackman Press, 2010
- Chekhov, Anton, Forty Stories, translated and with an introduction by Robert Payne, New York, Vintage, 1991 edition, ISBN 978-0-679-73375-1
- Chekhov, Anton, Letters of Anton Chekhov to His Family and Friends with Biographical Sketch, translated by Constance Garnett, Macmillan, 1920. Full text at Gutenberg. Retrieved 16 February 2007.
- Chekhov, Anton, Note-Book of Anton Chekhov, translated by S. S. Koteliansky and Leonard Woolf, B.W. Huebsch, 1921. Full text at Gutenberg. Retrieved 16 February 2007.
- Chekhov, Anton, The Other Chekhov, edited by Okla Elliott and Kyle Minor, with story introductions by Pinckney Benedict, Fred Chappell, Christopher Coake, Paul Crenshaw, Dorothy Gambrell, Steven Gillis, Michelle Herman, Jeff Parker, Benjamin Percy, and David R. Slavitt. New American Press, 2008 edition, ISBN 978-0-9729679-8-3
- Chekhov, Anton, Seven Short Novels, translated by Barbara Makanowitzky, W.W.Norton & Company, 2003 edition, ISBN 978-0-393-00552-3
- Finke, Michael C., Chekhov's 'Steppe': A Metapoetic Journey, an essay in Anton Chekhov Rediscovered, ed Savely Senderovich and Munir Sendich, Michigan Russian Language Journal, 1988, ISBN 99998-388-5-5
- Finke, Michael C., Seeing Chekhov: Life and Art, Cornell UP, 2005, ISBN 978-0-8014-4315-2
- Gerhardie, William, Anton Chekhov, Macdonald, (1923) 1974 edition, ISBN 978-0-356-04609-9
- Gorky, Maksim, Alexander Kuprin, and I.A. Bunin, Reminiscences of Anton Chekhov, translated by S. S. Koteliansky and Leonard Woolf, B.W.Huebsch, 1921. Read at eldritchpress. Retrieved 16 February 2007.
- Gottlieb, Vera, and Paul Allain (eds), The Cambridge Companion to Chekhov, Cambridge University Press, 2000, ISBN 978-0-521-58917-8
- Jackson, Robert Louis, Dostoevsky in Chekhov's Garden of Eden—'Because of Little Apples', in Dialogues with Dostoevsky, Stanford University Press, 1993, ISBN 978-0-8047-2120-2
- Klawans, Harold L., Chekhov's Lie, 1997, ISBN 1-888799-12-9. About the challenges of combining writing with the medical life.
- Malcolm, Janet, Reading Chekhov, a Critical Journey, Granta Publications, 2004 edition, ISBN 978-1-86207-635-8
- Miles, Patrick (ed), Chekhov on the British Stage, Cambridge University Press, 1993, ISBN 978-0-521-38467-4
- Nabokov, Vladimir, Anton Chekhov, in Lectures on Russian Literature, Harvest/HBJ Books,  2002 edition, ISBN 978-0-15-602776-2.
- Pitcher, Harvey, Chekhov's Leading Lady: Portrait of the Actress Olga Knipper, J Murray, 1979, ISBN 978-0-7195-3681-6
- Prose, Francine, Learning from Chekhov, in Writers on Writing, ed. Robert Pack and Jay Parini, UPNE, 1991, ISBN 978-0-87451-560-2
- Rayfield, Donald, Anton Chekhov: A Life, Henry Holt & Co, 1998, ISBN 978-0-8050-5747-8
- Simmons, Ernest J., Chekhov: A Biography, University of Chicago Press, (1962) 1970 edition, ISBN 978-0-226-75805-3
- Stanislavski, Constantin, My Life in Art, Methuen Drama, 1980 edition, ISBN 978-0-413-46200-8
- Styan, John Louis, Modern Drama in Theory and Practice, Cambridge University Press, 1981, ISBN 978-0-521-29628-1
- Wood, James, What Chekhov Meant by Life, in The Broken Estate: Essays in Literature and Belief, Pimlico, 2000 edition, ISBN 978-0-7126-6557-5
- Zeiger, Arthur, The Plays of Anton Chekov, Claxton House, Inc., New York, NY, 1945.
- Tufarulo,G,M., La Luna è morta e lo specchio infranto. Miti letterari del Novecento, vol.1- G. Laterza, Bari, 2009– ISBN 978-88-8231-491-0.
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- Biography at books and writers (Petri Liukkonen)
- Biography at The Literature Network
- "Chekhov's Legacy" by Cornel West at NPR, 2004
- The International competition of philological, culture and film studies works dedicated to Anton Chekhov's life and creative work (Russian)
- Works by Anton Chekhov at Open Library
- Works by and about Anton Chekhov at Internet Archive. Scanned books, color, some illustrated, original editions.
- Recorded Stories of Anton Chekhov at Internet Archive. Translated by Constance Garnett, Marion Fell, and others. Presented in mp3 and ogg format.
- Works by Anton Chekhov at Project Gutenberg. All Constance Garnett's translations of the short stories and letters are available, plus the edition of the Note-book translated by S. S. Koteliansky and Leonard Woolf – see the "References" section for print publication details of all of these. Site also has translations of all the plays.
- 201 Stories by Anton Chekhov, translated by Constance Garnett presented in chronological order of Russian publication with annotations.
- Антон Павлович Чехов. Указатель Texts of Chekhov's works in the original Russian, listed in chronological order, and also alphabetically by title. Retrieved June 2013. (Russian)
- Антон Павлович Чехов Texts of Chekhov's works in the original Russian. Retrieved 16 February 2007. (Russian)
- Works by Anton Chekhov at LibriVox (public domain audiobooks)