This article attempts to examine the poetics of A. P. Chekhov’s dramaturgy from the perspective of the category of mobility as the constant movement / changeab ility / fluidity of everything in the world — history, ecology, sociality, time, space, the human soul and body, and fate. In his plays, Chekhov conceptualizes the world and humanity through moving images — trains, songs, the sounds of musical instruments, the seasons, the stages of human life, the evolution of natural communities, population migration, the dynamics of human emotions, and the growth and loss of professional competencies — artfully integrating them into a unified composition and the overall concept of his works. Particular attention is paid to the mobility of the “estate culture” in Chekhov’s plays, which allows us to connect its destruction not only with the obvious socioeconomic causes of the turn of the 19th and 20th centuries (the degradation of the nobility, the rise of the bourgeoisie, technological progress, the growth of cities), but also with the elusive rhythm of the universe as a cosmic whole, including nature, culture, and human destinies.