Aleksei Suvorin

Reading notes

• Poems and Dubia (school-age and disputed juvenilia) §470 the word "izrechenie" ["dictum"] is spelled with an ye, not a yat

  A real 1892 autograph note in which Chekhov corrects his publisher and friend Suvorin's Russian orthography (the pre-reform Russian alphabet distinguished the letters ye and yat, often confused) -- a small, genuine piece of literary correspondence rather than a joke.

• Poems and Dubia (school-age and disputed juvenilia) §602 A Complete Explanatory Dictionary of "Street Words"

  A joking dig at Sokolov, Burenin, and Suvorin (real journalists/publishers, the latter Chekhov's own patron) as purveyors of coarse popular language -- an in-house joke that does not spare Chekhov's own circle.

• The Sinner from Toledo §51 Suvorin

  Aleksei Suvorin, the influential newspaper publisher and columnist whose name Chekhov drops as one of the well-known feuilletonists of the day; Chekhov would later become his close correspondent and the publisher of his own major works.

• The Alarm Clock's Calendar §88 Suvorin

  Aleksei Suvorin, the influential newspaper publisher and, later, Chekhov's own patron and correspondent; here just one more name on the calendar's mock name-day list.

• A Contract for the Year 1884, Concluded with Mankind §5 A. Suvorin

  Aleksei Suvorin, the prominent Petersburg publisher and columnist; naming him as the calendar the New Year 'lives in' is a topical wink at a famous contemporary rather than a legal detail.

• Unclean Tragedians and Leprous Playwrights §15 Aleksei Suvorin's calendar

  Aleksei Suvorin, the era's most influential Russian newspaper publisher (Novoye Vremya) and, later, Chekhov's close friend and patron; mockingly demoted here to the petty civil rank of "provincial secretary."

• To M. M. Dyukovsky, 17 February 1886. Moscow. §6 I'm working for Suvorin

  Chekhov's proud, half-joking announcement of his new arrangement with Aleksei Suvorin, publisher of Novoye Vremya -- a major step up from the comic weeklies he had written for until then.

• To M. M. Dyukovsky, 20 February 1886. Moscow. §2 12 kopecks a line

  A per-line (per-строчка) payment rate, the standard way Russian newspapers and journals of the period compensated feuilletonists and contributors. Twelve kopecks a line was a solid, professional rate for the time -- markedly better than the piece rates Chekhov had been getting from the comic weeklies -- and this note is one of the first concrete records of the terms on which Suvorin began paying him.

• To A. S. Suvorin, 21 February 1886. Moscow. §5 the kind attention of a man so experienced and talented as yourself

  This is Chekhov's reply to Suvorin's first letter to him -- Suvorin, publisher and de facto editor of the influential St. Petersburg daily Novoye Vremya, had written to praise Chekhov's work and had rushed one of his stories into print. The exchange begun here would grow into the most consequential literary friendship and patronage relationship of Chekhov's career.

• To N. A. Leikin, 19 September 1883. Moscow. §8 "Suvorin on the Birch"

  A drawing or caricature (title untraced beyond this mention) depicting the Petersburg press magnate Aleksei Suvorin, shown to visiting schoolboys who failed to get the joke.

• To N. A. Leikin, 12 January 1887. Moscow. §6 Suvorin

  Aleksei Suvorin, the influential publisher and editor of Novoye Vremya and Chekhov's most important literary patron in this period; here mentioned as having declined to print the unnamed acquaintance's verses.

• To Al. P. Chekhov, 17 January 1887. Moscow. §8 Suvorin

  Aleksei Suvorin, the influential publisher of Novoye Vremya; Chekhov is needling Alexander to make better use of his connection to Suvorin's circle -- a friendship Chekhov himself would soon cultivate to much greater effect.

• To M. Ye. Chekhov, 18 January 1887. Moscow. §8 My good acquaintance Suvorin, the publisher of \textit{Novoye Vremya}

  Aleksei Suvorin, the prominent publisher of Novoye Vremya and one of Chekhov's most significant literary patrons; the two would go on to become close, if often strained, correspondents. Here Chekhov praises his business acumen and generosity toward literature at length.

• To Al. P. Chekhov, 31 January 1887. Moscow. §7 Suvorin and Co.

  Aleksei Suvorin, publisher of Novoye Vremya and Chekhov's principal patron; the offhand, faintly evasive remark that Chekhov doesn't know what Suvorin and his circle want from him is characteristic of the wary, joking register in which he discusses his most important literary connection with family.

• To Al. P. Chekhov, 3–4 February 1887. Moscow. §3 20 (twenty) copies of the works of Pushkin, Suvorin's edition

  The cut-price collected Pushkin that Chekhov's patron Aleksei Suvorin was about to issue at two roubles a copy, discussed at length by Chekhov in a nearly contemporaneous letter to his uncle Mitrofan Yegorovich; its sudden popularity is what has made it impossible to find in Moscow bookshops.

• To Al. P. Chekhov, 19–20 February 1887. Moscow. §4 As for Pushkin, I have written to Suvorin himself

  Aleksei Suvorin, the powerful publisher of Novoye Vremya and, by 1887, Chekhov's own patron and correspondent; the matter concerns an edition of Pushkin's works that Chekhov is lobbying Suvorin to expedite or make available, evidently on behalf of the Moscow medical clinics' subscription list mentioned later in this section.

• To Al. P. Chekhov, 22–23 February 1887. Moscow. §4 Tell Suvorin to raise it.

  Aleksei Suvorin, publisher of Novoye Vremya; Alexander worked in the paper's Petersburg office at a modest salary, and Chekhov here jokingly urges him to lobby Suvorin (whom Chekhov, as a valued contributor, felt he could needle) for a raise.

• To the Chekhovs, 13 March 1887. Petersburg. §2 to put it in kike fashion

  This translates "выражаясь по-жидовски," literally "speaking/putting it in zhid-fashion." "Zhid" (жид) was, by the late nineteenth century, a derogatory and offensive term for a Jewish person in Russian -- the neutral word is "еврей" (yevrei) -- and "по-жидовски" is an adverbial slur-idiom invoking the antisemitic stereotype of the shrewd, calculating Jewish moneylender. Chekhov uses it here as a throwaway, jokingly self-deprecating turn of phrase to characterize the manner of Suvorin's loan (300 roubles, kept a "secret") -- that is, given with a lender's canniness rather than pure generosity -- and not as a description of Suvorin, who was not Jewish. The idiom was current and largely unremarkable in educated Russian usage of the period, which is precisely what makes it a documentary window onto the casual antisemitism embedded in the everyday language Chekhov and his contemporaries used, independent of any particular animus in this instance. This edition translates the phrase directly rather than substituting a euphemism, in keeping with its practice of rendering the source text as written; readers should understand the term for what it is -- a period slur -- rather than as editorial license. For a similar accounting of Chekhov's own explicit, more troubling private remarks about Jews and Judaism, see his correspondence with Suvorin from the early 1890s (outside the scope of this letter).

• To the Chekhovs, 13 March 1887. Petersburg. §2 material for the publication of a book

  The book in question became "V sumerkakh" ("In the Twilight"), the first substantial hardcover collection of Chekhov's stories, published by Suvorin in 1887; it would go on to win Chekhov the Pushkin Prize in 1888, the arrangement described here being its practical starting point.

• To F. O. Shekhtel, 17 March 1887. Moscow. §7 I got an advance out of Suvorin!

  Aleksei Suvorin, publisher of Novoye Vremya and by this date Chekhov's patron and close correspondent, had evidently fronted him money for the trip south.

• To Al. P. Chekhov, 19 March 1887. Moscow. §12 as Al. Ser. likes

  "Al. Ser." -- Aleksei Sergeyevich Suvorin, Chekhov's publisher, whose preference on the exact title would settle the matter between "My Stories" and simply "Stories."

• To M. V. Kiseleva, 21 March 1887. Moscow. §13 Suvorin said

  Aleksei Suvorin, publisher of \emph{Novoye Vremya} and Chekhov's patron and close correspondent; the quoted exchange -- Suvorin admitting he has not yet read Kiseleva's manuscript amid "such a pit of bother" -- is reported by Chekhov as a postscript, in Suvorin's own distracted voice.

• To Al. P. Chekhov, 3 June 1887. Babkino. §5 the book is not mine, not yours, not Papa's, but Suvorin's

  Aleksei Suvorin, the influential Petersburg publisher, was bringing out "In the Twilight" at his own financial risk; Chekhov insists the finished stock belongs entirely to Suvorin's firm, not to any member of the Chekhov family, forestalling any assumption that copies could simply be taken or given away.

• To G. M. Chekhov, 23 June 1887. Babkino. §9 Suvorin

  Aleksei Suvorin, publisher of Chekhov's forthcoming book (the 1887 story collection later reworked as "In the Twilight") and, separately, of a low-cost popular edition of Pushkin then in print -- the same firm handling two very different books at once.

• To Al. P. Chekhov, August 1887. Babkino. §6 one of Suvorin's ardent admirers

  Chekhov forwards a stranger's fan letter to be relayed to Suvorin through intermediaries at the Novoye Vremya office, a small errand that reflects the brothers' still-developing access to Suvorin himself at this point in 1887.

• To N. A. Leikin, 11 August 1887. Babkino. §10 Suvorin booklet

  Refers to a collection of Chekhov's stories published under Aleksei Suvorin's imprint -- "V sumerkakh" (In the Twilight), which appeared in 1887 and marked Chekhov's move to more prestigious publishing.

• To F. O. Shekhtel, 12 August 1887. Babkino. §12 Suvorin

  Aleksei Suvorin, the influential Moscow/Petersburg publisher and bookseller; Chekhov would soon become the leading contributor to his newspaper Novoye Vremya, and here asks Schechtel about buying books from Suvorin's shop.

• To Al. P. Chekhov, 7–8 September 1887. Moscow. §5 Suvorin isn't acquainted

  Aleksei Suvorin, the paper's proprietor and Chekhov's own patron and correspondent; Chekhov's advice throughout this paragraph is aimed at getting Alexander into direct, easy contact with him.

• To Al. P. Chekhov, 25 September 1887. Moscow. §15 Suvorin

  Aleksei Suvorin, the influential Petersburg publisher who brought out "In the Twilight" and with whom Chekhov's close correspondence and friendship were then developing.

• To Ya. A. Korneyev, 1887. Moscow. §2 Suvorin

  Aleksei Suvorin, the powerful Petersburg publisher of Novoye Vremya, to whom Chekhov has passed along an article Korneyev hopes to place; Chekhov reports he has talked Korneyev up to Suvorin "without any pang of conscience."

• To Al. P. Chekhov, 10–12 October 1887. Moscow. §12 Suvorin or Burenin

  Alexei Suvorin, publisher of "Novoye Vremya," and his colleague Viktor Burenin, whom Chekhov asks Alexander to sound out about serializing a 1500-line piece.

• To Al. P. Chekhov, 21 October 1887. Moscow. §11 Suvorin and Polonsky

  Aleksei Suvorin (publisher of Novoye Vremya) and the poet Yakov Polonsky, both apparently advocating on Chekhov's behalf for the prize; Chekhov thanks them while insisting he does not expect or want to actually win it.

• To Al. P. Chekhov, 24 October 1887. Moscow. §5 Suvorin

  Aleksei Suvorin, Chekhov's publisher and correspondent, also awaiting the same competition's outcome.

• To Al. P. Chekhov, 29 October 1887. Moscow. §6 Suvorin

  Aleksei Suvorin, the newspaper publisher and Chekhov's patron and close correspondent, whose interest in the fate of Chekhov's new play prompts this report via Alexander.

• To N. A. Leikin, 4 November 1887. Moscow. §15 Suvorin

  Aleksei Suvorin, the prominent St. Petersburg publisher and editor of \textit{Novoye Vremya}, and later Chekhov's own close friend and correspondent; named first among the publishing names the educated public does know.

• To M. V. Kiseleva, 7 November 1887. Moscow. §7 "The devil only knows..."

  Suvorin's characteristically brusque non-answer when Nikolai Chekhov asked after the missing manuscript, illustrating the letter's running complaint about the precariousness of provincial authorship without a Petersburg foothold.

• To N. A. Leikin, 15 November 1887. Moscow. §4 Suvorin agrees with you

  Aleksei Suvorin, the prominent St. Petersburg publisher and editor of \textit{Novoye Vremya}; Chekhov cites -- with some irony -- Suvorin's own recent advice to "take the actors in hand," using it against Leikin's argument that authors should stay out of production.

• To V. N. Davydov, 1 December 1887. Petersburg. §9 I understand Ivanov very well

  Suvorin's aside, quoted directly by Chekhov, is one of the earliest recorded readings of the title character as a type -- a man his own contemporaries and even his creator's associates recognized in themselves -- rather than a purely individual portrait.

• To the Chekhovs, 3 December 1887. Petersburg. §16 "a brainless beast"

  Suvorin's comic insult for the unnamed "Novoye Vremya" journalist whose garbled, unauthorized item about Chekhov's private conversation caused an uproar with Korsh's theater.

• N. A. Leikin, 27 December 1887. Moscow. §6 Suvorin

  Aleksei Suvorin, the prominent publisher and editor of \textit{Novoye Vremya}; invoked here as too busy to personally oversee the printing of Leikin's book, hence Chekhov's advice that Leikin see to the paper and binding himself.

• To A. N. Pleshcheyev, 9 February 1888. Moscow. §4 Suvorin (15 kopecks a line)

  Aleksei Suvorin, publisher of Novoye Vremya and Chekhov's regular patron in the popular press; Chekhov uses the per-line rate Suvorin paid him as his only point of comparison when guessing what a "thick journal" fee should look like.

• To M. P. Chekhov, 16 March 1888. Petersburg. §5 Suvorin's

  Aleksei Suvorin, Chekhov's publisher and close correspondent, in whose Petersburg household Chekhov is now a guest.

• To M. P. Chekhov, 16 March 1888. Petersburg. §12 Suvorin's study

  Aleksei Suvorin's study, where Chekhov paces and philosophizes with him after dinner.

• To A. S. Lazarev, 22 March 1888. Moscow. §5 I stayed with Suvorin

  Aleksei Suvorin, the influential Petersburg newspaper publisher who would soon become Chekhov's close correspondent and the publisher of his story collections; this brief, admiring mention is an early sign of the friendship taking hold.

• To N. A. Khlopov, 22 March 1888. Moscow. §3 Suvorin's own hands

  Aleksei Suvorin, publisher of Novoye Vremya; placing the manuscript directly in his hands, rather than mailing it, signals Chekhov's personal investment in getting Khlopov a hearing.

• To Al. P. Chekhov, 24 March 1888. Moscow. §16 Suvorins

  Aleksei Suvorin, Chekhov's publisher and patron, at whose country home Chekhov had just spent a week; "the Suvorins" here refers to Suvorin and his household.

• To Ya. P. Polonsky, 25 March 1888. Moscow. §3 the Suvorins

  Alexei Suvorin's household, offered as witnesses that Chekhov was genuinely unwell the Friday he missed Polonsky's gathering.

• To A. N. Maslov, 29 March 1888. Moscow. §13 Suvorin

  Aleksei Suvorin, publisher of "Novoye Vremya" and one of Chekhov's closest correspondents and patrons.

• To A. S. Suvorin, 3 April 1888. Moscow. §4 Alexei Sergeyevich

  Aleksei Suvorin, publisher of "New Times" and Chekhov's closest literary confidant and patron, whom Chekhov had just visited in Petersburg the previous month.

• To Al. P. Chekhov, 4 April 1888. Moscow. §5 Suvorin

  Aleksei Suvorin, Chekhov's publisher and patron; the threat to write asking him to "chase off" Alexander is mock-severity about Alexander's Petersburg employment, not a real threat.

• To I. L. Leontyev, 15 April 1888. Moscow. §7 Suvorin

  Aleksei Suvorin, publisher of "New Times" and Chekhov's close friend and patron; Chekhov suggests invoking their planned joint trip as leverage for an advance.

• To Al. P. Chekhov, 18–24 April 1888. Moscow. §4 Suvorin's shop

  Aleksei Suvorin's Petersburg bookshop, run under his name (as distinct from his son Mikhail, addressed just above); Chekhov complains that customers are being turned away despite demand for his book.

• To M. P. Chekhov, 24–25 April 1888. Moscow. §3 Suvorin wants to pay us a visit

  Aleksei Suvorin, Chekhov's publisher and friend; word that he might visit the rented dacha is Chekhov's motive for pressing Misha on whether the place is presentable.

• To A. I. Leman, 30 April 1888. Moscow. §4 A. S. Suvorin

  Chekhov's publisher, whose own house custom of printing a full catalogue of his publications at the back of every book Chekhov says he cannot alter, even to accommodate Leman's proposal.

• To A. S. Suvorin, 30 May 1888. Sumy. §4 Alexei Sergeevich!

  The letter's addressee, Aleksei Sergeyevich Suvorin, publisher of "Novoye Vremya" -- not to be confused with the houseguest mentioned later in the same letter, Alexei Nikolaevich Pleshcheyev (see loc 16, 22), who shares the given name Alexei but a different patronymic and is a wholly separate person.

• To A. N. Pleshcheyev, 5–6 July 1888. Sumy. §3 Suvorin

  Aleksei Suvorin, the newspaper publisher, here serving only as Chekhov's forwarding address in Feodosia during Chekhov's upcoming Crimean trip -- not yet the close correspondent Suvorin would soon become.

• To I. L. Leontyev, 18 July 1888. Feodosia. §3 General Suvorin

  Aleksei Suvorin, the newspaper publisher, host to Chekhov during this stretch of his 1888 Crimean travels; "General" is a joking honorific, not a real rank.

• To I. L. Leontyev, 18 July 1888. Feodosia. §4 Suvorin

  Referent-tracking note for translators: throughout section 4, "he"/"his" refers to Suvorin, the host and third party under discussion -- his tirelessness in talk, his lack of formal theory, his self-taught "doglike" instinct for art -- and NOT to Shcheglov, the letter's addressee, who is spoken to directly as "you" in the sections immediately before and after (and again at the close of this section, "Your Suvorin-Schmerz"). Kept distinct in translation ("Suvorin and I," "Suvorin really is...") to avoid misattributing Suvorin's temperament to Shcheglov himself.

• To I. L. Leontyev, 18 July 1888. Feodosia. §4 Suvorin-Schmerz

  Chekhov's German-Russian coinage ("Suvorin-ache"/"Suvorin-pain," on the model of "Weltschmerz"), apparently Shcheglov's own phrase in an earlier, non-surviving letter for the peculiar mix of admiration and exhaustion Suvorin's company induces; Chekhov confirms he understands the feeling exactly.

• To Al. P. Chekhov, 24 July 1888. Parokhod "Yunona". §4 People think well of you and place great hopes in your person

  Referent tracking: the collective opinion Chekhov relays here is Suvorin's circle at Feodosia (where Chekhov had just spent eleven days), not Chekhov's own household or Alexander's Moscow acquaintances -- the whole of section 4 through section 8 reports what Chekhov observed and heard while staying with Suvorin.

• To Al. P. Chekhov, 24 July 1888. Parokhod "Yunona". §8 Staying with Suvorin, I got a closer look at the aims, intentions, and habitus of "New Times."

  Referent tracking: "Suvorin" throughout section 8 (here, "They were frank with me," "Suvorin doesn't know how or what you think") is the elder Aleksei Suvorin, editor and owner of "New Times" and Chekhov's host in Feodosia -- not his son and travel companion of section 7. The whole passage is career advice for Alexander relayed from what Chekhov learned about the paper's inner workings during his stay.

• To N. M. Yezhov, 8 August 1888. Sumy. §4 Suvorin is waiting for his Saturday piece

  Aleksei Suvorin, publisher of "Novoye Vremya" and Chekhov's own patron and correspondent; Chekhov here does some informal matchmaking, encouraging Lazarev-Gruzinsky toward a regular contributor's slot (a "subbotnik," or Saturday feature) on Suvorin's paper.

• To A. N. Pleshcheyev, 13 August 1888. Sumy. §10 Suvorin

  Referent-tracking note for translators: throughout section 10, every subsequent pronoun ("he," "his") refers to Suvorin, the publisher and family friend under discussion -- his health and cheer while Chekhov was staying with him, his son's death, his despair, his family -- and not to Chekhov himself. Rendered as "Suvorin... his son... his family" to keep the referent unambiguous.

• To I. L. Leontyev, 14 August 1888. Sumy. §4 Suvorin

  Referent-tracking note for translators: this section names two Suvorins in close succession. The first "Suvorin" (Russian "Суворин", unqualified) is the elder, the publisher Aleksey Suvorin, whose guest Chekhov had been. The second, "Суворин-фис" ("Suvorin-fils"), is his son, Chekhov's traveling companion, who received the diphtheria telegram; rendered here as "Suvorin's son." The sentence then reverts to the unqualified "Суворин" for the father again, living through the anxious days -- rendered "the elder Suvorin" to keep the two distinct. Do not conflate the two referents or let the pronoun drift between them.

• To I. L. Leontyev, 14 August 1888. Sumy. §10 climatic station for the literary brotherhood

  Chekhov's half-joking plan (which became the Luka/Mirgorod-district farmstead scheme mentioned to other correspondents, e.g.) for a retreat for writer friends; he notes here that Suvorin has borrowed the idea for a version of his own at Feodosia.

• To A. N. Pleshcheyev, 20 August 1888. Sumy. §3 an envelope from Suvorin

  Aleksei Suvorin, the newspaper publisher, here serving only as the forwarding address to which Pleshcheyev's letter had been sent in Feodosia and from whose envelope it now reaches Chekhov at Sumy -- not yet the close correspondent Suvorin would soon become.

• To A. S. Suvorin, 29 August 1888. Sumy. §3 Alexei Sergeyevich

  Aleksei Suvorin, publisher of "New Times" and Chekhov's closest literary confidant and patron; Chekhov gives him the same Moscow address (Kudrinskaya-Sadovaya, Korneyev's house) as the previous year and invites him to stop by on his way home.

• To A. S. Lazarev, 31 August 1888. Sumy. §6 Suvorin

  Aleksei Suvorin, the influential publisher of "New Times" and Chekhov's chief literary patron; Chekhov offers to broker a book deal for Lazarev with him.

• To A. S. Lazarev, 31 August 1888. Sumy. §6 both Suvorins, father and son

  Aleksei Suvorin and one of his sons, who worked alongside him in the family's publishing and bookselling business.

• To Al. P. Chekhov, 11 September 1888. Moscow. §6 the Suvorin family

  Broadened here from "young Suvorin" (the son, just mentioned) to the family collectively -- Aleksei Suvorin, his wife, and children -- to whom Chekhov says he has grown strongly attached.

• To Al. P. Chekhov, 11 September 1888. Moscow. §9 Suvorin's calendar

  The almanac/calendar being assembled under Aleksei Suvorin's imprint, for which Chekhov needs the returned Arkhangelsky report on insane asylums; see the companion letter to Suvorin himself of the same date, where Chekhov discusses contributing the medical section of "your calendar," including a piece on madhouses in Russia.

• To I. L. Leontyev, 14 September 1888. Moscow. §11 Suvorin is still in Feodosia

  Aleksei Suvorin, Chekhov's Petersburg publisher and, by this date, a close correspondent; mentioned here only in a brief closing item of personal news about the house ("castle") he is building in the Crimean port town of Feodosia. Distinct from Korsh, the Moscow theater manager named two sections earlier -- see the note at section 10.

• To Al. P. Chekhov, 24 September 1888. Moscow. §4 Suvorin has just been to see me

  "Suvorin" here and at locs 5, 11, and 15 is the elder Aleksei Sergeyevich Suvorin, Chekhov's publisher-patron, distinct throughout this letter from his son "Suvorin-fils" at loc 8. The visit described -- pacing, peering over his spectacles, near tears -- follows his rude note to Alexander Chekhov, written on a train near Simferopol while distracted by his young son's illness, after reading Alexander's story "The Letter."

• To A. S. Suvorin, 7 October 1888. Moscow. §3 Alexei Sergeyevich

  Suvorin himself, the letter's sole addressee, addressed here by first name and patronymic rather than by surname -- not a third party.

• To D. V. Grigorovich, 9 October 1888. Moscow. §4 Suvorin

  Aleksei Suvorin, publisher of "Novoye Vremya" and Chekhov's close correspondent; named here alongside Grigorovich as one of the two men in Petersburg whose steadying presence Chekhov feels he needs.

• To D. V. Grigorovich, 9 October 1888. Moscow. §5 Suvorin took up the idea and sent my book to the Academy

  Aleksei Suvorin, who acted on Polonsky's idea by submitting Chekhov's book "V sumerkakh" to the Academy of Sciences.

• To D. V. Grigorovich, 9 October 1888. Moscow. §6 Suvorin

  Aleksei Suvorin again, as the reason Chekhov gives for staying with "Novoye Vremya" despite giving his longer work to "Severny Vestnik."

• To A. S. Suvorin, 24 October 1888. Moscow. §3 Dear Alexei Sergeyevich, I was touched and I've written a little piece

  Suvorin himself, the letter's addressee. The "little piece" ("заметка") is a short occasional item Chekhov wrote in response to something that moved him; it is not otherwise identified or attested elsewhere in the corpus.

• To A. S. Suvorin, 7 November 1888. Moscow. §3 I never thought, Alexei Sergeyevich, that my atropine would turn into a riddle.

  Continues a running joke about eye-drops raised in earlier correspondence: Suvorin had relayed Grigorovich's warning against putting anything in the eyes, and Chekhov here defends atropine as harmless, citing Frenchwomen's cosmetic use of it.

• To A. S. Lazarev, 10 November 1888. Moscow. §3 your offspring makes its debut at Suvorin's

  "Детище" ("offspring"), Chekhov's playful, recurring third-person term for a writer's own work, here Lazarev's "Saturday piece" that Chekhov had passed along to Suvorin's son in the 20 October letter; "at Suvorin's" refers to Aleksei Suvorin's newspaper "New Times", where it is about to appear.

• To Al. P. Chekhov, 18 November 1888. Moscow. §2 Alexei Sergeyevich

  "Alexei Sergeyevich" is Alexei Sergeyevich Suvorin, Chekhov's publisher, already established throughout this correspondence (e.g.) and referred to here by name and patronymic rather than surname -- distinct from his son "young Suvorin", who appears by that epithet elsewhere in the corpus (e.g. \S6 \S5); no ambiguity here since only the father is named.

• To A. S. Suvorin, 18 December 1888. Moscow. §12 Suvorin is a touchy man and doesn't like it if he himself, or his emissary, ends up in the position of a petitioner

  Chekhov's own characterization of the letter's addressee, offered to Nikulina as his reason for refusing to personally solicit Yermolova on Suvorin's behalf; consistent with Suvorin's extensive prior establishment throughout this corpus.

• To I. L. Leontyev, 20 December 1888. Moscow. §7 The two weeks I spent at Suvorin's

  Aleksei Sergeyevich Suvorin, the "Novoye Vremya" publisher and Chekhov's close friend and patron, already extensively established throughout this corpus's Suvorin correspondence; this letter documents a two-week visit to his household.

• To N. A. Nikulina, 22 December 1888. Moscow. §4 A. S. Suvorin

  Alexei Sergeyevich Suvorin, publisher of "Novoye Vremya" and Chekhov's close correspondent and patron in this period; the addressee of the concurrent letters in which Nikulina and the casting of "Ivanov" are discussed at length.

• To N. A. Nikulina, 22 December 1888. Moscow. §4 In a letter to me

  DISAMBIGUATION: refers to a separate letter FROM Suvorin TO Chekhov, not to any letter addressed to Nikulina -- keep this referent distinct from the present letter (which is itself addressed to Nikulina) and from any Suvorin correspondence to her. See also \S5, "in his letter," which refers to the same Suvorin-to-Chekhov letter.

• To N. A. Nikulina, 22 December 1888. Moscow. §5 in his letter

  DISAMBIGUATION: again refers to Suvorin's letter to Chekhov (the same one named in \S4, "in a letter to me"), specifying which passages of "Ivanov" the author wants left untouched -- not a letter to Nikulina. See \S4 note.

• To D. V. Grigorovich, 24 December 1888. Moscow. §3 Suvorin's stationery

  Aleksei Suvorin, publisher of "Novoye Vremya" and Chekhov's close friend and correspondent; Chekhov opens by noting he is writing on paper belonging to Suvorin's household.

• To D. V. Grigorovich, 24 December 1888. Moscow. §3 It made an unpleasant impression on the Suvorins

  Aleksei Suvorin and his household, relayed by Chekhov's sister as having taken offense at Grigorovich's not being called on before Chekhov's departure from Petersburg.

• To D. V. Grigorovich, 24 December 1888. Moscow. §3 you, Alexei Sergeyevich, and I were walking from the museum

  "Alexei Sergeyevich" here is Aleksei Sergeyevich Suvorin himself, named by first name and patronymic -- the same figure named a few lines later by surname alone ("said Suvorin," \S5) in the reported dialogue of this same anecdote. Russian usage regularly alternates between name-patronymic and surname for one person within a single anecdote; both references merge to the single entity, matching this corpus's established prior identifications of "Alexei Sergeyevich" as Suvorin (see e.g.'s and's headnotes). He is explicitly NOT to be confused with his son Alexei Alekseyevich Suvorin, a distinct entity in this corpus.

• To D. V. Grigorovich, 24 December 1888. Moscow. §5 said Suvorin

  Aleksei Suvorin again, here named by surname alone in the reported dialogue -- the same person as "Alexei Sergeyevich" two sentences earlier (\S3); see that note for the name-patronymic-then-surname merge.

• To D. V. Grigorovich, 24 December 1888. Moscow. §8 bring Suvorin with you

  Aleksei Suvorin, whom Chekhov invites Grigorovich to bring along to the Moscow premiere of Suvorin's own play.

• To A. S. Suvorin, 26 December 1888. Moscow. §11 I'm waiting for N. Lavretsky to write another story.

  "N. Lavretsky" is Suvorin's own literary pseudonym, under which he published fiction including "The Story of One Night" discussed in this same section and the monologue for Davydov at \S15; not a separate person.

• To A. S. Suvorin, 28 December 1888. Moscow. §11 Dear teacher of the Dorpat students,

  A mock-formal, joking epithet Chekhov applies to Suvorin HIMSELF as a valediction -- not a reference to a separate person. The joke's exact biographical basis (some connection between Suvorin and students of the University of Dorpat, present-day Tartu, Estonia) is not explained in the letter and should not be over-interpreted.

• To I. L. Leontyev, 31 December 1888. Moscow. §5 I am doing what you yourself would do in my place, and what Suvorin would do

  Aleksei Suvorin, the influential publisher and Chekhov's close correspondent and confidant of this period, invoked here as a byword for reasonable self-respecting professional conduct -- not otherwise present in this letter's events.

• To A. N. Pleshcheyev, 2 January 1889. Moscow. §6 My dealings with the management go through Suvorin, who very much wants my play to be staged.

  Alexei Suvorin, publisher of "Novoye Vremya" and Chekhov's close friend and patron, well established throughout this corpus; here the intermediary for the Petersburg management's dealings over "Ivanov," and the object of Chekhov's affectionately mocking character sketch that follows through the end of the section.

• To V. N. Davydov, 4 January 1889. Moscow. §4 A. S. informs me that, by rumor, you wish to play Lebedev.

  "A. S." is Alexei Sergeyevich Suvorin, Chekhov's publisher, friend, and frequent theatrical go-between, here relaying secondhand casting gossip from Petersburg by telegram.

• To A. S. Suvorin, 7 January 1889. Moscow. §2 Alexei Sergeyevich

  Alexei Sergeyevich Suvorin, Chekhov's publisher, close friend, and frequent theatrical intermediary; addressee of this letter and hundreds of others in this corpus.

• To D. T. Savelyev, 4 February 1889. Moscow. §3 I went to Suvorin's shop and gave orders that the books and calendars be sent to you

  "Suvorin's shop" is the retail arm of Aleksei Suvorin's Moscow/Petersburg bookselling and publishing operation, which Chekhov used here to fulfill an order Savelyev had placed in his January letter for a beet-farming guide, a stenography manual, and two wall calendars, cash-on-delivery.

• To A. S. Suvorin, 14 February 1889. Moscow. §3 kinsmen

  Chekhov's playful claim of kinship rests on the coincidence that his own first full-length play, "Ivanov," and Suvorin's play ran in the same Moscow theatrical season, inviting a shared sense of having 'suffered the same torments' at the critics' hands -- including Krylov's.

• To L. N. Lenskaya, 15–16 February 1889. Moscow. §6 Suvorin

  Alexei Suvorin, publisher of "Novoye Vremya" and Chekhov's close friend and patron, sending his own greetings to Lenskaya via this letter.

• To Al. P. Chekhov, 21 February 1889. Moscow. §3 Suvorin promised me he would apologize to you

  Aleksei Sergeyevich Suvorin, the Petersburg publisher and Chekhov's close correspondent, acting here as an intermediary for Chekhov's apology to Alexander.

• To Al. P. Chekhov, 25 February 1889. Moscow. §6 Suvorin's property

  Aleksei Sergeyevich Suvorin, the Petersburg publisher and Chekhov's regular correspondent, whose firm published "Twilight" and ran the bookshop responsible for the misbound copies.

• To A. S. Suvorin, 5 March 1889. Moscow. §3 Alexei Sergeyevich

  Aleksei Sergeyevich Suvorin, publisher of "Novoye Vremya" and Chekhov's closest literary correspondent and confidant; established throughout this corpus.

• To A. S. Suvorin, 6 March 1889. Moscow. §3 dear Alexei Sergeyevich

  Aleksei Sergeyevich Suvorin, the wealthy publisher of Novoye Vremya and Chekhov's closest correspondent and de facto patron by this date; addressed here by his name and patronymic.

• To N. A. Leikin, 27 March 1889. Moscow. §5 Suvorin's bookshop

  Aleksei Sergeyevich Suvorin, publisher and bookseller, whose Kharkov branch shop Chekhov visited to inquire after sales of both Leikin's and his own books.

• To N. A. Leikin, 10 April 1889. Moscow. §8 Suvorin

  Alexei Sergeyevich Suvorin, publisher of Novoye Vremya and Chekhov's principal literary correspondent and patron in this period.

• To Al. P. Chekhov, 11 April 1889. Moscow. §6 Suvorin

  Aleksei Suvorin, publisher of Novoye Vremya and Chekhov's close friend and patron; the same-day letter to Suvorin himself independently confirms Chekhov raised Alexander's play with him that day ("He wrote a play... don't disillusion him all at once").

• To I. L. Leontyev, 12 April 1889. Moscow. §8 Suvorin

  Aleksei Sergeyevich Suvorin, the influential publisher and Chekhov's regular correspondent and patron, reporting here on Shcheglov's visit to him.

• To N. N. Obolonsky, 20 April 1889. Moscow. §3 the easiest time to catch Suvorin is between 2 and 3 in the afternoon and after 6 in the evening

  A single piece of practical scheduling advice with no stated reason: Chekhov tells Dr. Obolonsky the best hours to find Suvorin, his Petersburg publisher-patron, already extensively established elsewhere in this corpus. Nothing in the letter indicates why Obolonsky wants to reach him; the two men's shared context is left unspoken.

• To A. S. Suvorin, 4 May 1889. Sumy. §3 dear Alexei Sergeyevich

  Aleksei Sergeyevich Suvorin, the publisher and Chekhov's regular correspondent and patron, then traveling abroad; see the eve-of-departure letter, written from Moscow on 22 April as Chekhov himself set off for Sumy.

• To V. A. Tikhonov, 31 May 1889. Sumy. §4 Suvorin

  Alexei Suvorin, publisher of "Novoye Vremya" and Chekhov's close friend and patron, well established throughout this corpus.

• To A. N. Pleshcheyev, 26 June 1889. Sumy. §8 Suvorin is calling me abroad.

  Alexei Suvorin, publisher of "Novoye Vremya" and Chekhov's close friend and patron, well established throughout this corpus; here the one urging Chekhov to travel abroad with him, an invitation Chekhov resists in favor of settled work in the Crimea.

• To Al. P. Chekhov, 9 September 1889. Moscow. §4 two months' salary in advance

  "жалованье за 2 месяца вперед" -- Chekhov rebuts Alexander's attempt to blame his employer Suvorin for a financial shortfall by pointing out, on report from others ("the most reliable sources"), that Alexander himself had requested the advance; the debt dispute in this letter is thus explicitly triangulated among Alexander, Suvorin, and the family, not a simple two-party matter.

• To Al. P. Chekhov, 12–13 October 1889. Moscow. §4 Suvorin

  Aleksey Sergeyevich Suvorin, publisher of \textit{Novoye Vremya} and Chekhov's close friend and patron at this period; Chekhov asks after his expected arrival.

• To A. I. Sumbatov, 25 November 1889. Moscow. §2 It seems to me that Suvorin did not understand you.

  Refers to A. S. Suvorin, the Novoye Vremya publisher and Chekhov's patron/correspondent, already established in this corpus. This letter follows up on (20 November, Chekhov to Suvorin), in which Chekhov reports that Sumbatov wants Suvorin to indicate books or articles on "Macbeth" rather than have them sent outright; Suvorin's agency instead dispatched a clipping of the illustrated weekly "The Graphic," which Chekhov here flags as a misunderstanding.

• To A. S. Suvorin, 27 November 1889. Moscow. §7 "Your Excellency"

  "Ваше превосходительство" (Your Excellency) was the formal honorific due a civil-service rank roughly equivalent to major-general/privy councillor; Chekhov uses it here as a running mock-formal joke with Suvorin, tied to their habitual meetings at the Slavyansky Bazaar, not as a genuine title Suvorin held.

• To A. I. Sumbatov, 27–28 December 1889. Moscow. §2 Suvorin

  Alexei Sergeyevich Suvorin, publisher and editor of Novoye Vremya, and one of Chekhov's principal correspondents and patrons; source of the "Macbeth-ish little books."

• To F. A. Chervinsky, 18 August 1391. Bogimovo. §3 Suvorin's printing house, on Ertelev Lane

  Ertelev Lane (Эртелев переулок) in St. Petersburg was the address of Aleksei Suvorin's publishing operation, including the offices of his newspaper \emph{Novoye Vremya} and an associated printing house; Chekhov directs Chervinsky there in person rather than corresponding through Suvorin directly.

• To Ye. M. Shavrova, 2 September 1891. Bogimovo. §4 Suvorin

  Aleksei Sergeyevich Suvorin, the influential publisher of Novoye Vremya and Chekhov's own regular editor and correspondent; Chekhov acted as an informal gatekeeper, passing along -- or, as here, holding back -- Shavrova's stories for possible publication in Suvorin's paper.

• To V. M. Sobolevsky, 7 October 1891. Moscow. §10 I have received a letter from A. S. Suvorin, which I enclose

  Aleksei Sergeyevich Suvorin, publisher and editor of Novoye Vremya and Chekhov's close correspondent and patron. This section is where Chekhov explicitly states that he is forwarding Suvorin's letter -- the textual evidence that the letter-within-a-letter structure of this document (sections 1-7 quoting Suvorin, sections 8-12 Chekhov's own covering note) is intentional rather than an archival splicing error.

• To V. A. Vagner, 10 October 1891. Moscow. §3 the day before yesterday Suvorin said the telegram had been received

  Aleksei Suvorin, the Novoye Vremya publisher and Chekhov's regular correspondent and patron; here the immediate contact through whom Chekhov had tried, unsuccessfully, to stop the feuilleton's printing.

• To A. S. Suvorin, 20 October 1891. Moscow. §5 Vivat dominus Suvorin!

  A mock-ceremonial Latin toast ("Long live Mr. Suvorin!"), glossed by Chekhov himself in the source text; a schoolboy Latin flourish deployed in comic gratitude the moment he confirms a further 400 rubles has been sent, immediately followed by a sober tally of the running advance against "The Duel."

• To M. N. Albov, 22 October 1891. Moscow. §5 Suvorin

  Aleksei Sergeyevich Suvorin, the influential newspaper publisher (Novoye Vremya) and Chekhov's close correspondent, already established in this corpus. His visit to Moscow and his one-line verdict after hearing only the opening twenty lines and a plot summary -- "I would not venture to print that" -- is presented as the decisive event that rattles Chekhov ("Я немножко потерял голову," repeated twice in this section) into shelving the novella outright, converting's hedged worry into a settled fact.

• To Al. P. Chekhov, 24 October 1891. Moscow. §3 Ask Suvorin to give up the Wednesdays -- do I need them?

  Chekhov asks Alexander to relay a request to Suvorin, the paper's publisher and Chekhov's close correspondent, that he formally release Chekhov's claim to the Wednesday slot -- a slot Chekhov insists he neither needs nor particularly values, distinguishing it (and his broader newspaper collaboration, which he says has done him no good as a writer) from his personal friendship with Suvorin, which he says would survive undiminished without it.

• To A. S. Suvorin, 28 October 1891. Moscow. §7 To Alexei Sergeyevich Suvorin.

  The addressee given in full name and patronymic on the address panel, as is conventional for the outer direction even where the letter itself uses the familiar "Your."

• To A. I. Urusov, 9 November 1891. Moscow. §3 Suvorin's

  Aleksei Sergeyevich Suvorin, the influential newspaper publisher ("Novoye Vremya") and Chekhov's close friend and correspondent, already established in this corpus. Chekhov reports having risen from his own sickbed to go treat Suvorin -- acting as his physician, a role he sometimes performed for friends despite having largely left clinical practice for writing -- and now worries the ailment (which he calls influenza, "инфлуэнствующий") may develop into pneumonia.

• To A. S. Suvorin, 18 November 1891. Moscow. §9 Continuation:

  The letter is a genuine two-part composite, not a single sitting: Chekhov wrote and sent the first part (sections 1-8, closing with "Your A. Chekhov" and a full signature) on 18 November, then received a reply from Suvorin that had crossed his own letter in the post, and immediately drafted a second part -- headed in the source simply "Продолжение:" ("Continuation:") -- responding point by point to what Suvorin had just written. The second part answers a specific claim in Suvorin's crossing letter (that Chekhov's planned move to a farmstead means withdrawing from him, addressed in section 10) and closes with its own separate signature (section 13), effectively a second short letter appended to the first under one dateline. The edition preserves this structure exactly as the source presents it rather than merging the two into a single undifferentiated block.

• To V. A. Tikhonov, 21 November 1891. Moscow. §6 Suvorin, who was in Moscow and saw me

  Aleksei Suvorin, the influential publisher and Chekhov's close correspondent, invoked here as a witness who can vouch for the severity of Chekhov's illness, having visited him in Moscow.

• To V. A. Tikhonov, 8 December 1891. Moscow. §7 I'll be staying at Suvorin's, since I don't know your home address

  Chekhov names Alexei Sergeyevich Suvorin, his friend and \emph{Novoye Vremya} publisher, as his usual host on visits to Petersburg -- the practical reason he gives Tikhonov for not needing his home address in return.

• To I. L. Leontyev, 15 December 1891. Moscow. §6 Suvorin's

  Aleksei Suvorin, the influential newspaper publisher and Chekhov's close friend and correspondent; Chekhov plans to stay at his residence on his upcoming trip, as he did on other visits recorded elsewhere in this corpus.

• To N. M. Garshina, 27 December 1891. Petersburg. §4 Since that is so, I find A. S. Suvorin's letter to Plevako unnecessary.

  Aleksei Suvorin, the newspaper publisher and Chekhov's close associate, had evidently drafted or proposed a letter to the advocate Fyodor Plevako -- presumably to seek some legal avenue regarding the Medyntseva bequest on Garshina's behalf. Having now confirmed that the capital is willed exclusively to churches with no room for exception, Chekhov advises that Suvorin's letter is unnecessary: the legal question is settled by the will's own terms, and no advocate's intervention can alter it. The note closes the errand Chekhov had taken up in Moscow before leaving for Petersburg.

• To Ye. P. Yegorov, 3 January 1892. Petersburg. §2 Петербург, Мл. Итальянская, 18, кв. Суворина.

  Chekhov's dateline gives his temporary Petersburg address as Aleksei Suvorin's own apartment at Malaya Italyanskaya, 18 -- the address he had already told Yegorov to use in \S6 and repeated on departure in \S3. He is still there on 3 January, three weeks after arriving; this letter is itself proof that mail addressed here, unlike mail addressed to the phantom Nizhny Novgorod station discussed in \S3, was reaching him without trouble.

• To Ye. M. Shavrova, 1 February 1892. Moscow. §4 Suvorin is in Moscow now.

  Aleksei Sergeyevich Suvorin, the influential publisher of Novoye Vremya and Chekhov's own close friend and publisher, who wants a personal introduction to Shavrova, one of his paper's contributors.

• To A. S. Suvorin, 5 March 1891. Moscow. §3 We're off!!!

  Chekhov's enthusiastic reply to a trip proposal made by Suvorin in a preceding (non-surviving or unbuilt) letter -- the plan that would develop, after the hesitations voiced in this letter, into their joint spring 1891 journey through Western Europe (Vienna, Venice, Nice, Paris, among other stops).

• To M. P. Chekhova, 14 January 1890. Petersburg. §4 went there together with Suvorin

  Alexey Sergeyevich Suvorin, the influential Petersburg newspaper publisher (\emph{Novoye Vremya}) and Chekhov's close friend and correspondent, present in the room dictating his own joke as Chekhov writes.

• To M. P. Chekhova, 14 January 1890. Petersburg. §5 the well-known dog Suvorin

  Suvorin's own joke, dictated on the spot: he casts himself as a second exhibit at the dog show, punning on the pair having gone "together" as though Suvorin himself were one of the dogs on display.

• To N. M. Yezhov, 28 January 1890. Petersburg. §9 Suvorin apologizes

  Aleksei Sergeyevich Suvorin, publisher of \emph{Novoye Vremya} and Chekhov's close friend and patron in this period; here relaying, on Suvorin's behalf, an apology for the delay in arranging Ezhov's newspaper subscription (see \S6).

• To A. S. Suvorin, 1 April 1890. Moscow. §12 You scold me for objectivity ... horse-stealing is evil ... let the jurors judge them; my business is only to show what they are like ... the reader ... will add the subjective elements missing from the story

  One of the single most quoted and historically significant passages in Chekhov's entire correspondence -- his fullest defense of authorial objectivity against Suvorin's recurring charge that it amounts to moral indifference. The occasion is almost certainly Suvorin's response to Chekhov's short story "Thieves" ("Воры," published February 1890), whose horse-thief characters Chekhov depicts without narratorial condemnation; the "700 lines" Chekhov cites matches a short-story-length treatment. The argument has several distinct, tightly compressed moves worth separating out: (1) a *category* distinction -- that judging ("кража лошадей есть зло") is the business of "jurors" (i.e. of the reader's own moral sense, or of society's actual mechanisms of judgment), not of the artist, whose business is only accurate depiction ("показать только, какие они есть"); (2) a claim about *specificity* -- that the writer's real obligation is not to render a verdict everyone already holds ("that's been known without me for a long time") but to supply what only fiction can, the concrete, particular truth that horse thieves are not desperate beggars but well-fed men driven by something closer to a cult-like passion than to ordinary criminal need; (3) a *craft* argument, not merely a philosophical one -- that sustained immersion in the thieves' "tone" and "spirit" is technically necessary to keep a short story compact, and that injecting authorial subjectivity would blur the images and slacken the compression the form demands; and (4) a theory of *reading* -- that Chekhov "counts fully on the reader" to supply the missing subjective/moral element himself, treating restraint not as withholding judgment but as actively delegating it to the audience. This passage is the clearest prose statement of the objectivity/restraint principle that STYLE.md identifies as Chekhov's signature narrative method ("meaning withheld, carried by the concrete") -- here Chekhov states as explicit aesthetic doctrine, in a private letter, the same discipline his fiction enacts silently. Compare his earlier, related defenses of authorial neutrality to Suvorin in 1888 (e.g. the well-known "the artist must not be the judge of his characters" formulations from that year's correspondence).

• To the Chekhovs, 23 April 1890. Volga, parokhod "Aleksandr Nevsky". §16 give her the ticket for the Gogol

  A household errand involving Suvorin: Chekhov's publisher and correspondent Alexei Suvorin had apparently lent or was owed a multi-volume set of Gogol, one volume of which had already been returned to him "as a binding sample" (для переплетного образца) -- i.e. as a physical model for how the remaining volumes should be rebound or matched. Chekhov is reminding the household that the other three volumes still need to be collected (presumably from a bindery or from Suvorin's household), and instructs Misha to hand Lika the claim ticket and show her how to send the resulting parcel by registered post. The errand is mundane, but its presence here -- squeezed between travel jokes -- is typical of how Chekhov used these dispatch letters to keep ordinary household business moving even from aboard a steamer.

• To the Chekhovs, 24 April 1890. Kama, parokhod "Perm--Nizhny". §8 he told some lady a lie, that he'd had a little book printed at Suvorin's

  Suvorin appears in this letter only inside another passenger's lie: the "scrawny blond man" who has made himself up to look like the poet Nadson claims, falsely, to a lady at dinner that he had a book printed by Suvorin's press. This is not a reference to Chekhov's own relationship with Aleksei Suvorin (the publisher and, by 1890, Chekhov's close correspondent) -- it is the impostor invoking Suvorin's name for borrowed prestige, and Chekhov's deadpan response ("I, of course, put on an expression of awe") is aimed at the passenger's vanity and credulity-baiting, not at Suvorin. Kept distinct from any same-entity crossref implying an actual Chekhov-Suvorin transaction occurred here.

• To F. O. Shekhtel, 7 January 1891. Moscow. §2 Malaya Italyanskaya, 18, Suvorin's apartment

  Chekhov gives Shekhtel his forwarding address in Petersburg as Aleksei Suvorin's own apartment -- a mark of how close the two men had already become by early 1891, barely more than two years into their correspondence; Chekhov routinely used Suvorin's Petersburg residence as a mailing address and a base during his visits to the capital through the early 1890s.

• To M. P. Chekhova, 14 January 1891. Petersburg. §7 you will not be working for him -- that is my will

  Chekhov here overrules, in blunt and uncharacteristically authoritative language, some prospect of Maria Pavlovna taking employment connected with Aleksei Suvorin's household or enterprises; the letter gives no further detail on what position was under discussion.

• To Ye. M. Shavrova, 18 January 1891. Petersburg. §6 Suvorin

  Aleksei Suvorin, publisher of \emph{Novoye Vremya} and Chekhov's own patron and correspondent; his personal approval of Shavrova's story, relayed here, carries weight beyond a normal editor's -- Chekhov is passing on praise from the man who owns the paper that printed her.

• To Ye. M. Shavrova, 28 January 1891. Petersburg. §3 Suvorin

  Aleksei Suvorin, publisher of \emph{Novoye Vremya}; Chekhov reports that the two of them have jointly settled on a plan for ferrying the manuscript of "In Vino" between Petersburg and Moscow so Shavrova can revise it before publication.

• To I. P. Chekhov, 1891. Moscow. §2 Suvorin

  Alexey Sergeyevich Suvorin, Chekhov's publisher and close friend, here owed 666 rubles for textbooks supplied toward the Sakhalin libraries. The specific sum, coinciding with the biblical "number of the beast" (Revelation 13:18), goes unremarked by Chekhov but is likely a private note of comic coincidence rather than significance to the sense of the passage.

• To Ye. M. Shavrova, 6 March 1891. Moscow. §5 Suvorin

  Aleksei Suvorin, publisher of \emph{Novoye Vremya}; the planned introduction to him fell through when he suddenly fell ill and left town. Chekhov, half-joking, casts Suvorin's blunt, passionate criticism as exactly the tonic Shavrova's early work needs.

• To F. A. Kumanin, 11 March 1891. Moscow. §3 Suvorin

  Alexey Sergeyevich Suvorin (1834-1912), publisher and editor of Novoye Vremya and one of Chekhov's closest correspondents and patrons; named here as the fallback recipient should Kumanin decline to print the forwarded story.

• To I. P. Chekhov, 13 March 1891. Petersburg. §4 Alexei Sergeyevich

  Alexei Sergeyevich Suvorin, Chekhov's publisher, patron, and close friend, and Chekhov's traveling companion on this trip abroad.

• To M. P. Chekhova, 16 March 1891. Petersburg. §2 M-r Souvorine

  Aleksey Sergeyevich Suvorin, publisher of Novoye Vremya and Chekhov's travel companion on this trip abroad; his name, not Chekhov's own, is given as the poste-restante addressee -- evidently a more reliable or recognizable name for foreign post offices to hold mail under.

• To the Chekhovs, April 1891. Rome. §3 The Suvorins got several letters apiece

  "Суворины" (plural) refers to Chekhov's traveling party on this leg of the trip: his publisher-patron Aleksei Sergeyevich Suvorin and Suvorin's son Alexei Alekseyevich, who is travelling with him (cf. the headnote). Tagged here to as the identified individual; no separate corpus entity exists for the pair as a travel unit.

• To N. M. Lintvareva, April 1891. Rome. §3 Suvorin, Mikhail Alexeyevich (editor of "Novoye Vremya")

  An apparent slip by Chekhov, not a transcription or OCR error: the editor of \textit{Novoye Vremya} was Aleksei Sergeyevich Suvorin, not a "Mikhail Alexeyevich" Suvorin. Chekhov appears to have carried over the first name of Aleksei's son Mikhail Alekseyevich Suvorin -- mentioned earlier in this same paragraph as the one "in charge of the book trade on the railways" and as "Suvorin-fils" -- and pinned it, in error, onto the father he is actually directing Stoyanova to write to (the man who "promised me to do whatever she likes" and who left for Russia the day before, i.e. the influential editor-publisher, not his son the railway-bookstalls manager). The patronymic given here, "Alexeyevich," does not match the historical Aleksei Sergeyevich Suvorin's actual patronymic (Sergeyevich) either. Rendered here exactly as Chekhov wrote it rather than silently corrected, per the corpus's no-silent-correction practice; the entity link points to the person Chekhov evidently means rather than fabricating a distinct "Mikhail Alexeyevich" editor entity that never existed.

• To the Chekhovs, 1891. Paris. §3 one of the Russian sculptors living in Paris has undertaken to make a bust of Suvorin

  The unnamed sculptor is not otherwise identified in the letter; the sitting is the stated cause of the party's repeated delays in leaving Paris on this leg of the 1891 trip (cf. the similar postponements reported in the immediately preceding family letters of this same week).

• To Ye. M. Shavrova, 20 June 1891. Bogimovo. §4 Suvorin wrote to me in his illegible hand

  A. S. Suvorin, editor of \emph{Novoye Vremya} and Chekhov's regular correspondent, here the secondhand source for both the identity of "Mimochka"'s author and the review/excerpts Chekhov bases his guess on.

• To A. S. Suvorin, 6 August 1891. Bogimovo. §4 One mustn't stand on ceremony with your sort

  Renders \textit{с Вашим братом нельзя церемониться}, literally "one mustn't stand on ceremony with your brother/kind" -- \textit{Ваш брат} here is an idiomatic phrase meaning "people like you," not a reference to an actual brother; Chekhov is teasing Suvorin as a type (the demanding, hypochondriac patient-patron) rather than making a family reference.

• To A. S. Suvorin, 6 August 1891. Bogimovo. §8 an "eloquent" gossip

  The astronomer-lady's own sardonic epithet for Suvorin, reported secondhand by Chekhov -- she is irritated that he apparently gossiped about her to Chekhov (or forwarded Chekhov's address to her with a romantic jest, per the rest of the section) and calls him \textit{красноречивым} ("eloquent"/"talkative") sarcastically.

• To A. S. Suvorin, 6 August 1891. Bogimovo. §8 The being you adore lives...

  Suvorin had apparently written out Chekhov's home address for the astronomer-lady with a mock-romantic inscription framing Chekhov as an object of her adoration -- the joke Chekhov is now relaying and protesting on her behalf.

• To Al. P. Chekhov, 6 August 1891. Bogimovo. §4 500 have been sent to Suvorin in Feodosia

  Suvorin was summering at his Feodosia villa in the Crimea in August 1891; Chekhov routes part of his publisher's-shop account to him there, apparently repaying or forwarding a sum, before laying out his own tight finances for the summer.

• Forgiveness §14 Suvorin

  Aleksei Suvorin, the influential newspaper publisher; Chekhov would later become his close correspondent, but at this early date he is just another name on the list of things to forgive.

• Tatyana Repina §3 Dedicated to A. S. Suvorin

  Aleksei Sergeyevich Suvorin (1834-1912), publisher of Novoye Vremya and Chekhov's close friend and correspondent; his own play "Tatyana Repina", staged in 1889, dramatized the suicide of the title character, an actress driven to poison herself after being abandoned by her lover Sabinin. Chekhov's one-act is a private, personal continuation of Suvorin's play written as a gift for him -- not a public rebuttal or parody in the hostile sense, but an affectionate, dark joke extending Suvorin's story past its own final curtain. See headnote for the fuller relationship between the two plays.

• Notebooks. Diaries §31 Suvorin's apartment

  Aleksei Sergeyevich Suvorin, the wealthy Petersburg publisher of Novoye Vremya and Chekhov's closest correspondent and frequent host through most of the 1890s; Chekhov begins this very notebook in Suvorin's Petersburg apartment before their 1891 trip abroad together.