Critics have often seen the tone of the story as Chekhov's satire on the limited roles available to women in 19th-century Russian society, depicting them as mere appendages to men, lacking their own thoughts or opinions. However, soon after "The Darling" was published, the contemporary writer Tolstoy contended that although Chekhov might have intended to portray Olga as a stereotypically superficial woman, he inadvertently elevates her through her ultimate role as a mother. Tolstoy argued that the most significant role for a woman in society is that of a loving mother, with their greatest virtue being their capacity for love.

Critics remain divided over the narrative perspective of "The Darling" and Olga’s character: Should she be mocked, pitied, or admired? The ongoing debate among critics, even a century after the story's publication, highlights Chekhov's skillful ambiguity in his storytelling.

In Chekhov’s story, we meet Olga Semyonovna, a character who thrives in the presence of love but withers without it. The tale invites readers to ponder the essence of such love, hinting that it may arise more from dependence and inner emptiness than from true emotional connection. Olga is notably unselective in her choice of partners, becoming attached to a theater owner, a lumber merchant, and a veterinary surgeon without truly understanding their personalities or her own feelings toward them. For Olga, love serves to fill the "empty yard," which is all she imagines when she doesn’t have a man to share it with. Her version of "love" is propelled by a profound internal void that she seeks to fill with any man, irrespective of who he is. In modern psychological terms, Olga's attachment to men could be labeled as "codependency," where her sense of identity is derived from her emotional dependence on others.

Throughout the story, Olga experiences love and loss with three different men. She marries Kukin and Pustovalov one after the other, but both are taken from her by sudden death. Olga's responses to their deaths are extremely dramatic. She mourns loudly when Kukin passes away and reacts similarly upon Pustovalov's death. After each funeral, she is visibly in mourning, wearing her black clothing for a long time. While Olga's grief seems intense and sincere, readers are encouraged to question its genuineness, as she forms new relationships within three to six months after each partner's death. It becomes clear that although Olga does grieve each loss, the ease with which she moves on suggests that the individual man is less important to her than simply having someone to fill the emptiness left behind. Olga's eventual bond with Sasha, a young boy, is initially sparked by her belief that he has been "abandoned" by his parents. Her own feelings of abandonment lead her to "love" Sasha.

Ultimately, Olga's so-called "maternal" affection for Sasha arises from her personal desire for a male figure to lavish with love, which ultimately hinders the child's healthy growth. Under the guise of doing everything for Sasha, Olga selfishly inundates him with attention to satisfy her own emotional cravings. Actions that seem thoughtful or generous, like following him to school to give him candy, are actually manipulative strategies to ensure he fulfills her need for love and attention. The story's closing lines highlight the oppressive nature of Olga's "love" for Sasha, as he reveals in his nightmares what he cannot articulate during the day: to Sasha, her attention feels demanding, overwhelming, and stifling.

Anton Chekhov, a celebrated figure in Russian literature and preeminent writer of short stories, skillfully employs exaggeration as a literary device to highlight human weaknesses. "The Darling" features Olenka,...

In Chekhov’s narrative, the theme of love is intricately woven, revealing a tapestry of illusions and fleeting happiness. This recurring motif across Chekhov’s works reflects perhaps a personal cynicism toward the concept of enduring love. Rarely do the characters find true satisfaction; love, in Chekhov’s world, is often an elusive mirage. Frequently, this emotion is unreciprocated, or when mutual, remains undiscovered due to poor communication. Even when love leads to marriage, it often culminates in disillusionment and unhappiness.

In this particular story, love appears to blossom successfully between Olenka and her partners. Yet fate, with its own mysterious designs, disrupts this happiness, taking away two husbands and a lover. Olenka, who possesses a boundless capacity for affection, is compelled to transfer her love to an innocent child instead. The narrative leaves Olenka in a state of happiness and contentment with the child, but this contentment is shadowed by a looming inevitability—the child will mature, embarking on his own journey, leaving Olenka once more in solitude. The story poignantly suggests that fulfillment in love is but a temporary state, and Olenka’s happiness, much like the love she cherishes, is destined to be ephemeral."