page_title: Anton Chekhov
section_title: Legacy
hierarchical_section_title: Anton Chekhov / Legacy
caption_attribution_description: English: Anton Chekhov museum Chekhova Ulitsa (street), Alexandrovsk-Sakhalinsky, Sakhalin Russian Federation. The house where he stayed in Sakhalin during 1890.
context_page_description: Anton Pavlovich Chekhov was a Russian playwright and short-story writer who is considered to be among the greatest writers of short fiction in history. His career as a playwright produced four classics, and his best short stories are held in high esteem by writers and critics. 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 theatre. Chekhov practiced as a medical doctor throughout most of his literary career: "Medicine is my lawful wife", he once said, "and literature is my mistress."
  Chekhov renounced the theatre after the reception of The Seagull in 1896, but the play was revived to acclaim in 1898 by Konstantin 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".
context_section_description: A few months before he died, Chekhov told the writer Ivan Bunin that he thought people might go on reading his writings 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."
  Chekhov's posthumous reputation greatly exceeded his expectations. The ovations for the play The Cherry Orchard in the year of his death served to demonstrate the Russian public's acclaim for the writer, which placed him second in literary celebrity only to Tolstoy, who outlived him by six years. Tolstoy was an early admirer of Chekhov's short stories and had a series that he deemed "first quality" and "second quality" bound into a book. In the first category were: Children, The Chorus Girl, A Play, Home, Misery, The Runaway, In Court, Vanka, Ladies, A Malefactor, 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 Defenceless Creature, and Peasant Wives.  If anyone doubted the gloom and miserable poverty of Russia in the 1880s, the Russian Anarchist Kropotkin responded, "read only Chekhov's novels!"
  In Chekhov's lifetime, British and Irish critics generally did not find his work pleasing; E. J. Dillon thought "the effect on the reader of Chekhov's tales was repulsion at the gallery of human waste represented by his fickle, spineless, drifting people" and R. E. C. Long said "Chekhov's characters were repugnant, and that Chekhov revelled in stripping the last rags of dignity from the human soul". After his death, Chekhov was reappraised. Constance Garnett's translations won him an English-language readership and the admiration of writers such as James Joyce, Virginia Woolf, and Katherine Mansfield, whose story "The Child Who Was Tired" is similar to Chekhov's "Sleepy". 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 it was later incorporated into the Soviet canon. The character of Lopakhin, for example, was reinvented as a hero of the new order, rising from a modest background so as eventually to possess the gentry's estates.
  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 pointed out 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 the United States, 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 developed Stanislavski's ideas further.
  Despite Chekhov's reputation as a playwright, William Boyd asserts that his short stories represent the greater achievement. Raymond Carver, who wrote the short story "Erra
caption: Anton Chekhov museum in Alexandrovsk-Sakhalinsky, Russia. It is the house where he stayed in Sakhalin during 1890
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