The Darling

Chekhov makes no reference to the debates in late 1800s Russia on “the woman question,” yet critics have read the story as a commentary on that debate. Discuss why this is the case.

The story follows a repetitive pattern, covering four relationships in only a few pages. What are Chekhov’s intentions with this choice, and why does he do this instead of focusing more closely on one or two of Olga’s relationships?

How might the ending be read optimistically, with Olga moving toward breaking out of her pattern of dependent love to assert her Agency and Individual Identity?

“The Darling” is considered a classic example of realism in the short story form, but Chekhov uses several non-realist elements, such as dreams and symbolism. What is the effect of this on the reader’s expectations?

The characters in “The Darling” function as archetypes. Why does Chekhov use this flatter form of characterization, instead of making Olga, Kukin, and Pustovalov more psychologically complex?

The action of the story is confined entirely to the unnamed town where Olga lives, even though every named character except her leaves town multiple times. Why doesn’t Chekhov take the reader outside of this setting?

Discuss the use of nature. How do descriptions of plants, animals, and weather contribute to the narrative of Olga’s relationships, both literally and metaphorically?

Chekhov is often described as an “impressionistic” writer. Does “The Darling” fit into the general definition of impressionistic literature? Why or why not?