In my opinion it is not the writer's job to solve such problems as God, pessimism, etc; his job is merely to record who, under what conditions, said or thought what about God or pessimism. The artist is not meant to be a judge of his characters and what they say; his only job is to be an impartial witness. I heard two Russians in a muddled conversation about pessimism, a conversation that solved nothing; all I am bound to do is reproduce that conversation exactly as I heard it. Drawing conclusions is up to the jury, that is, the readers. My only job is to be talented, that is, to know how to distinguish important testimony from unimportant, to place my characters in the proper light and speak their language.

"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. Suvorin was to become a lifelong friend perhaps Chekhov's closest.

His career as a dramatist produced four classics and his best short stories are held in high esteem by writers and critics. "
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.