Later on, when Zakhár brought him a glass of water, “No, wait a moment,” Oblómoff said. “I ask you, How did you dare to so deeply offend your master, whom you carried in your arms while he was a baby, whom you have served all your life, and who has always been a benefactor to you?” Zakhár could not stand it any longer--the word benefactor broke him down--he began to blink. The less he understood the speech of Iliyá Iliych, the more sad he felt. Finally, the reproachful words of his master made him break into tears, while Iliyá Iliych seizing this pretext for postponing his letter-writing till to-morrow, tells Zakhár, “you had better pull the blinds down and cover me nicely, and see that nobody disturbs me. Perhaps I may sleep for an hour or so, and at half past five wake me for dinner.” About this time Oblómoff meets a young girl, Olga, who is perhaps one of the finest representatives of Russian women in our novels. A mutual friend, Stoltz, has said much to her about Oblómoff--about his talents and possibilities, and also about the laziness of his life, which would surely ruin him if it continued. Women are always ready to undertake rescue work, and Olga tries to draw Oblómoff out of his sleepy, vegetative existence. She sings beautifully, and Oblómoff, who is a great lover of music, is deeply moved by her songs. Gradually Olga and Oblómoff fall in love with each other, and she tries to shake off his laziness, to arouse him to higher interests in life. She insists that he shall finish the great scheme for the improvement of his peasant serfs upon which he is supposed to have been working for years. She tries to awaken in him an interest for art and literature, to create for him a life in which his gifted nature shall find a field of activity. It seems at first as if the vigour and charm of Olga are going to renovate Oblómoff by insensible steps. He wakes up, he returns to life. The love of Olga for Oblómoff, which is depicted in its development with a mastery almost equalling that of Turguéneff, grows deeper and deeper, and the inevitable next step--marriage--is approaching.... But this is enough to frighten away Oblómoff. To take this step he would have to bestir himself, to go to his estate, to break the lazy monotony of his life, and this is too much for him. He lingers and hesitates to make the first necessary steps. He postpones them from day to day, and finally he falls back into his Oblómoffdom, and returns to his sofa, his dressing gown, and his slippers. Olga is ready to do the impossible; she tries to carry him away by her love and her energy; but she is forced to realise that all her endeavours are useless, and that she has trusted too much to her own strength: the disease of Oblómoff is incurable. She has to abandon him, and Goncharóff describes their parting in a most beautiful scene, from which I will give here a few of the concluding passages: