Chapter: 03. The Overcoat
Literary Appreciation
Nikolai Gogol’s “The Overcoat” is a seminal work in Russian literature, often considered a cornerstone of literary realism and humanitarian naturalism. Written in the 19th century, a period of profound philosophical and artistic exploration in Russia, Gogol’s masterpiece subtly blends satire with deep human empathy. He masterfully portrays the mundane, often bleak, existence of the common man within a rigid bureaucratic system, inviting readers to look beyond superficial appearances and sympathize with the plight of the downtrodden. The story, even in this extract, showcases Gogol’s unique ability to find the profound in the ordinary, highlighting themes of poverty, social status, and the human search for dignity through seemingly simple objects. It stands as a powerful commentary on society’s indifference and the quiet struggles of individuals.
Summary of the Story
“The Overcoat” tells the story of Akaky Akakievich, a diminutive, unremarkable government clerk in St. Petersburg whose entire life revolves around his tedious job of copying documents. He is perpetually ridiculed by his colleagues and ignored by his superiors. His one joy comes from his work, yet he is oblivious to the world outside it, including his own shabby appearance. The harsh St. Petersburg winter, however, forces him to confront a pressing issue: his old, dilapidated overcoat is beyond repair. Petrovich, the tailor, insists on a new one, shocking Akaky with the exorbitant cost. Despite his meager salary, Akaky resolves to save every kopeck, embarking on a year-long journey of extreme austerity. After months of painstaking sacrifice, he finally accumulates enough money. The extract culminates in the triumphant moment when Petrovich delivers the perfectly crafted new overcoat, filling Akaky with an unprecedented sense of joy and pride as he sets off for work, transformed by his new garment.
Detailed Explanation of Each Scene
Introduction to Akaky Akakievich (Paragraphs 1-4): Setting the Scene: The story introduces Akaky Akakievich, a low-ranking “perpetual titular councillor” in a certain department in St. Petersburg. His physical description is detailed: short, pock-marked, red-haired, short-sighted, bald, with wrinkled, sanguine cheeks—a product of the cold climate. His Work Life: No one remembers how he joined. His superiors treat him “coolly despotic” (authoritarian and unkind), thrusting papers at him without a word. Akaky accepts them without question, focusing only on the paper. Colleagues’ Treatment: Young officials mock him, throw paper bits (calling it “snow”). Akaky ignores them, completely absorbed in his work, never making a mistake. Only when physically hindered does he utter a quiet, almost pleading “Leave me alone! Why do you insult me?” Dedication to Duty: The narrator emphasizes Akaky’s unparalleled devotion, not just zeal, but “love” for copying. It is his entire existence, a “varied and agreeable employment.” Akaky’s World and Home Life (Paragraphs 5-7): Limited Existence: Outside of copying, Akaky seems to have no other life. He pays no attention to his clothes, which are a “rusty, muddy colour,” and his collar is so low his neck looks “inordinately” long, drawing a humorous comparison to wagging plaster kittens. Evening Routine: Upon returning home, he immediately eats his cabbage soup and resumes copying papers he brought from work. If there are none, he copies documents for his “own gratification,” especially if they are addressed to distinguished persons, finding joy in the act itself. Simple Pleasures: He goes to sleep smiling, looking forward to the next day’s copying tasks, showing his contentment with his simple, repetitive life centered around his work. The Threat of the Cold and the Old Overcoat (Paragraphs 8-9): The “Powerful Foe”: The brutal “Northern cold” of St. Petersburg is introduced as a major antagonist for low-salaried officials like Akaky, making even high-ranking officials ache. Poor titular councillors, with their “thin little overcoats,” are particularly vulnerable, rushing home to warm themselves. Object of Ridicule: Akaky’s overcoat is explicitly stated to be a source of ridicule, so old and worn that colleagues refuse to call it an “overcoat,” instead calling it a “dressing jacket.” Decision to See the Tailor: Akaky finally recognizes the dire state of his coat and decides to take it to Petrovich, a one-eyed, pock-marked tailor known for repairing clothes when sober. The Tailor’s Verdict and Akaky’s Despair (Paragraphs 10-15): Petrovich’s Declaration: Petrovich immediately dismisses any possibility of mending the old coat, declaring it a “wretched garment” and insisting on a “new overcoat!” Akaky’s Shock: The word “new” makes Akaky’s vision blur; he asks “A new one?” as if dreaming, stating he has no money. The Price: Petrovich, with “barbarous composure,” states the price: “a hundred and fifty or more” roubles. Akaky, whose voice is usually soft, “shrieked” at the amount. Desperate Plea: Akaky pleads with Petrovich to repair it “somehow, so that it will serve a little, longer.” Refusal and Resignation: Petrovich remains firm, saying it would be a “waste of time and money.” Akaky leaves “utterly discouraged,” realizing a new coat is unavoidable, even if Petrovich later lowers his estimate to eighty roubles. The Sacrifice for the New Overcoat (Paragraphs 16-20): The Financial Challenge: Akaky understands the impossibility of managing without a new overcoat, but the eighty roubles seems insurmountable. He could perhaps get half, but not the other half. Extreme Austerity Plan: He meticulously devises a plan to “curtail his ordinary expenses” for at least a year: No candles (working by his landlady’s light). Walking “as lightly as he could, and as cautiously, upon the stones, almost upon tiptoe” to save shoe heels. Giving the laundress “as little to wash as possible.” Taking off his clothes immediately upon reaching home to wear only a long-saved cotton dressing-gown. Saving Progress: He visits Petrovich monthly to discuss the coat. After “two or three months of partial fasting,” Akaky has saved nearly eighty roubles. The Creation of the Overcoat (Paragraphs 21-22): Shopping for Fabric: On the first day he reaches his goal, Akaky and Petrovich go to the shop and buy “some very good cloth.” Tailoring Process: Petrovich works on the overcoat for two whole weeks due to extensive quilting, charging twelve roubles for his meticulous labor. The coat is sewn with silk, in “small, double seams,” which Petrovich even inspects and stamps with his teeth. The Glorious Day (Paragraphs 23-26): The Delivery: Petrovich delivers the overcoat in the morning, just before Akaky leaves for work, perfectly timed for the severe cold. Petrovich’s countenance shows a significant pride, having crossed the “gulf” from mere repairman to creator of new garments. The Fitting: Petrovich proudly displays the coat and skillfully drapes it over Akaky. Akaky, “like an experienced man,” tries the sleeves, which are also perfect. The coat is “perfect, and most seasonable.” Akaky’s Pride and Petrovich’s Satisfaction: Akaky pays and thanks Petrovich, setting out immediately for the department in his new cloak. Petrovich follows, gazing at his creation from various angles, clearly pleased with his work, signifying a turning point for both. Theme and Moral of the Story
Themes:
Social Isolation and Alienation: Akaky Akakievich exists on the fringes of society, overlooked and ridiculed. His singular focus on copying detaches him from meaningful human interaction. Poverty and Social Status: The story vividly portrays the harsh realities of poverty and how one’s social standing determines treatment. Akaky’s old overcoat is a symbol of his low status, and the new one represents a brief, fragile ascent. Bureaucracy and Dehumanization: The government department is presented as an indifferent, almost cruel, entity that consumes individuals, reducing them to mere cogs in a machine. Akaky’s life is defined by a repetitive, soul-numbing task. The Pursuit of Material Possessions (and its ironic nature): The overcoat, a simple garment, becomes an object of immense desire and purpose for Akaky, providing him with a joy and identity he previously lacked. This highlights how something seemingly trivial can hold profound meaning for someone with little else. Dignity and Self-Worth: For Akaky, the new overcoat is not just protection from the cold; it offers him a newfound sense of dignity and confidence, however fleeting. Moral:
“The Overcoat” encourages empathy and compassion for those who are often overlooked or marginalized by society. It critiques a social system that judges individuals by their material possessions and status rather than their inherent worth. The story suggests that even the simplest desires of a humble person can hold immense significance and that true human dignity should not be dependent on wealth or position. It challenges readers to consider the humanity behind the mundane and the profound impact of small acts of kindness or cruelty.
Author Spotlight: Nikolai Gogol
Nikolai Gogol (1809-1852) was a prominent Russian writer of Ukrainian origin, considered one of the brightest stars of the “Golden Era” of Russian literature in the 19th century. Renowned for his unique blend of realism, satire, and the grotesque, Gogol made significant contributions to Russian short stories, novels, and plays.
His literary journey began while he was still a student, driven by a strong ambition for literary success. His first collection of short stories, Evenings on a Farm Near Dikanka, published in 1831, was met with great acclaim, establishing his reputation. Gogol’s works often explore themes of bureaucracy, the absurdities of human nature, and the plight of the common man, infused with a distinctive dark humor and a keen eye for social commentary.
Beyond “The Overcoat,” some of his other notable contributions include the historical novel Taras Bulba, and other celebrated short stories like “Diary of a Madman,” “The Portrait,” and “The Carriage.” Gogol’s influence on subsequent Russian writers, including Fyodor Dostoevsky (who famously said, “We all came out from under Gogol’s ‘Overcoat’”), is immense, cementing his legacy as a foundational figure in Russian literary tradition.
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