“When describing nature, a writer should seize upon small details, arranging them so that the reader will see an image in his mind after he closes his eyes. For instance: you will capture the truth of a moonlit night if you'll write that a gleam like starlight shone from the pieces of a broken bottle, and then the dark, plump shadow of a dog or wolf appeared. You will bring life to nature only if you don't shrink from similes that liken its activities to those of humankind."(Letter to Alexander Chekhov, May 10, 1886)”

“Be sure not to discuss your hero's state of mind. Make it clear from his actions."(Letter to Alexander Chekhov, May 10, 1886)”

“In displaying the psychology of your characters, minute particulars are essential. God save us from vague generalizations!"(Letter to Alexander Chekhov, May 10, 1886)”

“When, on a moonlit night, you see a wide village street with its peasant houses, haystacks, sleeping willows, tranquility enters the soul; in this calm, wrapped in the shade of night, free from struggle, anxiety and passion, everything is gentle, wistful, beautiful, and it seems that the stars are watching over it tenderly and with love, and that this is taking place somewhere unearthly, and that all is well.”

“NINAYour life is beautiful.TRIGORINI see nothing especially lovely about it. [He looks at his watch] Excuse me, I must go at once, and begin writing again. I am in a hurry. [He laughs] You have stepped on my pet corn, as they say, and I am getting excited, and a little cross. Let us discuss this bright and beautiful life of mine, though. [After a few moments' thought] Violent obsessions sometimes lay hold of a man: he may, for instance, think day and night of nothing but the moon. I have such a moon. Day and night I am held in the grip of one besetting thought, to write, write, write! Hardly have I finished one book than something urges me to write another, and then a third, and then a fourth--I write ceaselessly. I am, as it were, on a treadmill. I hurry for ever from one story to another, and can't help myself. Do you see anything bright and beautiful in that? Oh, it is a wild life! Even now, thrilled as I am by talking to you, I do not forget for an instant that an unfinished story is awaiting me. My eye falls on that cloud there, which has the shape of a grand piano; I instantly make a mental note that I must remember to mention in my story a cloud floating by that looked like a grand piano. I smell heliotrope; I mutter to myself: a sickly smell, the colour worn by widows; I must remember that in writing my next description of a summer evening. I catch an idea in every sentence of yours or of my own, and hasten to lock all these treasures in my literary store-room, thinking that some day they may be useful to me. As soon as I stop working I rush off to the theatre or go fishing, in the hope that I may find oblivion there, but no! Some new subject for a story is sure to come rolling through my brain like an iron cannonball. I hear my desk calling, and have to go back to it and begin to write, write, write, once more. And so it goes for everlasting. I cannot escape myself, though I feel that I am consuming my life. To prepare the honey I feed to unknown crowds, I am doomed to brush the bloom from my dearest flowers, to tear them from their stems, and trample the roots that bore them under foot. Am I not a madman? Should I not be treated by those who know me as one mentally diseased? Yet it is always the same, same old story, till I begin to think that all this praise and admiration must be a deception, that I am being hoodwinked because they know I am crazy, and I sometimes tremble lest I should be grabbed from behind and whisked off to a lunatic asylum. The best years of my youth were made one continual agony for me by my writing. A young author, especially if at first he does not make a success, feels clumsy, ill-at-ease, and superfluous in the world. His nerves are all on edge and stretched to the point of breaking; he is irresistibly attracted to literary and artistic people, and hovers about them unknown and unnoticed, fearing to look them bravely in the eye, like a man with a passion for gambling, whose money is all gone. I did not know my readers, but for some reason I imagined they were distrustful and unfriendly; I was mortally afraid of the public, and when my first play appeared, it seemed to me as if all the dark eyes in the audience were looking at it with enmity, and all the blue ones with cold indifference. Oh, how terrible it was! What agony!”

“Of course no one will consider,” said Anisim, and he heaved a sigh. “There is no God, anyway, you know, mamma, so what considering can there be?”Varvara looked at him with surprise, burst out laughing, and clasped her hands. Perhaps because she was so genuinely surprised at his words and looked at him as though he were a queer person, he was confused.“Perhaps there is a God, only there is no faith. When I was being married I was not myself. Just as you may take an egg from under a hen and there is a chicken chirping in it, so my conscience was beginning to chirp in me, and while I was being married I thought all the time there was a God! But when I left the church it was nothing. And indeed, how can I tell whether there is a God or not? We are not taught right from childhood, and while the babe is still at his mother’s breast he is only taught ‘every man to his own job.’ Father does not believe in God, either. You were saying that Guntorev had some sheep stolen.... I have found them; it was a peasant at Shikalovo stole them; he stole them, but father’s got the fleeces ... so that’s all his faith amounts to.”

“And he thought about the Devil, in whom he did not believe, and he looked around at the two windows where the fires were gleaming. It seemed to him that out of those crimson eyes the Devil himself was looking at him--that unknown force that had created the mutual relation of the strong and the weak, that coarse blunder which one could never correct. That strong must hinder the weak from living--such was the law of Nature; but only in a newspaper article or in a schoolbook was that intelligible and easily accepted. In the hotchpotch which was everyday life, in the tangle of trivialities out of which human relations were woven, it was no longer a law, but a logical absurdity, when the strong and the weak were both equally victims of their mutual relations, unwillingly submitting to some directing force, unknown, standing outside life, apart from man.”