Nastya (Suvorin's daughter)

Reading notes

• To A. S. Suvorin, 3 April 1888. Moscow. §9 Nastya and Borya

  Suvorin's children, sent affectionate regards; see also for Borya specifically.

• To A. S. Suvorin, 2 October 1888. Moscow. §26 Nastya, Borya

  Suvorin's children, sent closing regards alongside Anna Ivanovna, Burenin, and Maslov; see also.

• To A. S. Suvorin, 27 October 1888. Moscow. §15 And what's wrong with Nastya?

  REAL-VS-FICTIONAL-NASTYA DISAMBIGUATION -- this Nastya is Suvorin's REAL daughter, asked after here alongside her mother Anna Ivanovna in the same domestic-inquiry sentence. She is DISTINCT from the FICTIONAL "Nastya" character in the "Wood Demon" playbill drafted in -- that Nastya is a character being written for the play Chekhov and Suvorin are collaborating on, named at Chekhov's own suggestion; this Nastya is a living member of the Suvorin household whose health Chekhov is genuinely inquiring about. The shared given name is coincidental and the two must never be conflated.

• To A. S. Suvorin, 15 November 1888. Moscow. §3 Show the drawing to Nastya and Borya. If they like it, that means it's good.

  Suvorin's children, already established in this corpus (; see's's's, and's headnotes), here enlisted as an informal test audience for the cover art rather than merely sent regards.

• To A. S. Suvorin, 17 December 1888. Moscow. §13 to Nastya,

  Suvorin's real daughter; see the \S13 note above at "Borya" for the full real-vs-fictional non-conflation flag distinguishing her from the fictional Nastya of "The Wood Demon".

• To A. S. Suvorin, 7 January 1889. Moscow. §6 Nastya

  Diminutive of Anastasia; one of Suvorin's children, per the corpus's existing identification at. Not to be confused with the unrelated fictional "Nastya" sketched for "The Wood Demon" in's headnote.

• To A. S. Suvorin, 4 February 1889. Moscow. §10 Nastyusha

  Affectionate diminutive of "Anastasia" -- distinct from Anna Ivanovna (§7), whose name is a different one; one of Suvorin's children, previously established in this corpus and there addressed by the shorter form "Nastya."

• To A. S. Suvorin, 8 February 1889. Moscow. §13 Nastya

  Nastya (Anastasia Alekseyevna Suvorina), one of Suvorin's children.

• To A. S. Suvorin, 8 April 1889. Moscow. §3 Nastyusha

  Nastyusha, diminutive of Anastasia, one of Aleksei Suvorin's children.

• To A. S. Suvorin, May 1889. Sumy. §10 My heartfelt regards to Anna Ivanovna, Nastya, and Borya

  Nastya, one of Suvorin's children, grouped here with her mother Anna Ivanovna and brother Borya as in the corpus's other Suvorin-family regards.

• To A. S. Suvorin, 5 November 1889. Moscow. §6 Настю и Бориса

  Nastya and Boris (Boris Alekseyevich Suvorin), children of Suvorin's household, previously sent regards by name in ("To Nastya and Borya as well"); here Chekhov asks Suvorin to introduce them to the visiting Misha, treating the two families' children as already mutually familiar.

• To A. S. Suvorin, 20 November 1889. Moscow. §14 You write that Nastya has outgrown Anna Ivanovna. She needs to grow not upward but sideways.

  Nastya, one of Suvorin's children, already established in this corpus; "Anna Ivanovna" here is Suvorin's wife, Anna Ivanovna Suvorina (per the corpus's existing disambiguation of the many 'Anna Ivanovna' figures), used as the height comparison. The teasing 'gymnastics, or else I won't marry her' is mock-avuncular banter, not a literal proposal.

• To A. S. Suvorin, 23 February 1891. Moscow. §11 "Ah, Nastasya, ah, Nastasya, open up the gate!"

  A snatch of Russian folk-song/game doggerel (a wedding- or round-dance-song refrain of the "отворяй ворота" type, in which a bride or maiden is teasingly bid to open the gate) that Chekhov tacks onto his greeting to Suvorin's daughter Nastya -- playing on her name coinciding with the stock folk-rhyme heroine "Nastasya," a purely affectionate bit of nonsense verse rather than a literary quotation.