His first story appeared in a Moscow paper in 1880, and after some difficulty he secured a position connected with several of the smaller periodicals, for which, during his student years, he poured forth a succession of short stories and sketches of Russian life with incredible rapidity.  He wrote, he tells us, during every spare minute, in crowded rooms where there was “no light and less air,” and never spent more than a day on any one story.  He also wrote at this time a very stirring blood-and-thunder play which was suppressed by the censor, and the fate of which is not known.

His audience demanded laughter above all things, and, with his deep sense of the ridiculous, Tchekoff asked nothing better.  His stories, though often based on themes profoundly tragic, are penetrated by the light and subtle satire that has won him his reputation as a great humourist.  But though there was always a smile on his lips, it was a tender one, and his sympathy with suffering often brought his laughter near to tears.

This delicate and original genius was at first subjected to harsh criticism, which Tchekoff felt keenly, and Trigorin’s description in “The Sea-Gull” of the trials of a young author is a cry from Tchekoff’s own soul.  A passionate enemy of all lies and oppression, he already foreshadows in these early writings the protest against conventions and rules, which he afterward put into Treplieff’s reply to Sorin in “The Sea-Gull”:  “Let us have new forms, or else nothing at all.”

In 1884 he took his degree as doctor of medicine, and decided to practise, although his writing had by now taken on a professional character.  He always gave his calling a high place, and the doctors in his works are drawn with affection and understanding.  If any one spoke slightingly of doctors in his presence, he would exclaim:  “Stop!  You don’t know what country doctors do for the people!”

Tchekoff fully realised later the influence which his profession had exercised on his literary work, and sometimes regretted the too vivid insight it gave him, but, on the other hand, he was able to write:  “Only a doctor can know what value my knowledge of science has been to me,” and “It seems to me that as a doctor I have described the sicknesses of the soul correctly.”  For instance, Trigorin’s analysis in “The Sea-Gull” of the state of mind of an author has well been called “artistic diagnosis.”

The young doctor-writer is described at this time as modest and grave, with flashes of brilliant gaiety.  A son of the people, there was in his face an expression that recalled the simple-hearted village lad; his eyes were blue, his glance full of intelligence and kindness, and his manners unaffected and simple.  He was an untiring worker, and between his patients and his desk he led a life of ceaseless activity.  His restless mind was dominated by a passion of energy and he thought continually and vividly.  Often, while jesting and talking, he would seem suddenly to plunge into himself, and his look would grow fixed and deep, as if he were contemplating something important and strange.  Then he would ask some unexpected question, which showed how far his mind had roamed.