To A. S. Suvorin, 1 April 1890. Moscow.
А. С. СУВОРИНУ, 1 апреля 1890 г. Москва.
Headnote
A letter to Alexey Sergeyevich Suvorin, Chekhov’s publisher and closest correspondent, written from Moscow on 1 April 1890 – in the final weeks before Chekhov’s departure across Siberia for the Sakhalin census, which he undertook that spring. He opens with an Easter greeting ("Christ is risen!"), places his departure "in St. Thomas Week or a bit later," timed to when the Kama river opens for navigation, and asks Suvorin for a correspondent’s card (press credentials) ahead of travel, deferring a request for money until he knows the shortfall from collecting outstanding fees owed him. He reports the family is financially provided for through October.
The bulk of the letter concerns Nikolai Mikhailovich Yezhov, a young journalist under Suvorin’s wing: Chekhov gives a blunt character assessment ("a bit coarse... a plebeian, not very well educated, but not stupid and decent"), denies having edited Yezhov’s recent well-received feuilleton about a priest, and relays that Yezhov’s wife is ill with consumption (tuberculosis) and needs to go south. Chekhov asks to personally manage the timing of a 100-rouble advance Suvorin has offered Yezhov – withholding it until the eve of Yezhov’s departure so it isn’t frittered away, which Chekhov states would otherwise force the sick wife into third-class travel. He then asks after the publication of stories by Ostrovsky’s sister, dismisses a rumored nasal polyp afflicting Alexei Alexeyevich as unlikely, asks Suvorin to return the manuscript of his vaudeville "The Wedding" (Свадьба) or let it go with grim humor ("we’ll hold a requiem service for that vaudeville"), and passes on an actor’s report that Maslov’s play is going over well and that a work called "The Seville Seducer" is a translation rather than an original.
The letter closes with its best-known passage: a defense of authorial objectivity against Suvorin’s charge that it amounts to moral indifference. Chekhov argues that depicting horse thieves without editorializing that horse-theft is evil is not evasion but craft – "let the jurors judge them; my business is only to show what they are like" – and that sustaining a consistent tone within a compact short story requires suppressing his own subjective judgment, trusting the reader to supply it. This is a frequently cited statement of Chekhov’s aesthetic principle of authorial restraint (see also his 1888 letters to Suvorin on the same theme).