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" The Overcoat" (; sometimes translated as " The Cloak" or " The Mantle") is a short story by Nikolai Gogol, published in 1842. The story has had a great influence on Russian literature. Eugène-Melchior de Vogüé, discussing Russian realist writers, said: "We all came out from under Gogol's Overcoat" (a quote often misattributed to Dostoevsky). Writing in 1941, Vladimir Nabokov described "The Overcoat" as "The greatest Russian short story ever written".
The cost of a new overcoat is beyond Akaky's meager salary, so he forces himself to live within a strict budget to save sufficient money to buy the new overcoat. Meanwhile, he and Petrovich frequently meet to discuss the style of the new coat. During that time, Akaky's zeal for copying is replaced with excitement about his new overcoat, to the point that he thinks of little else. Finally, with the addition of an unexpectedly large holiday salary bonus, Akaky has saved enough money to buy a new overcoat.
Akaky and Petrovich go to the shops in St. Petersburg and pick the finest materials they can afford (marten fur was too expensive, so they use cat fur for the collar). The new coat is of impressively good quality and appearance and is the talk of Akaky's office on the day he arrives wearing it. His superior decides to host a party honoring the new overcoat, at which the habitually solitary Akaky is out of place; after the party, Akaky goes home, far later than he normally would. En route home, two ruffians confront him, take his coat, kick him down, and leave him in the snow.
Akaky finds no help from the authorities in recovering his lost overcoat. Finally, on the advice of another clerk in his department, he asks for help from an "important personage" (Russian: значительное лицо, znachitelnoye litso), a general recently promoted to his position who belittles and shouts at his subordinates to solidify his self-importance. After keeping Akaky waiting, the general demands of him exactly why he has brought so trivial a matter to him, personally, and not presented it to his secretary. Socially inept Akaky makes an unflattering remark concerning departmental secretaries, provoking so powerful a scolding from the general that he nearly faints and must be led from the general's office. Soon afterward, Akaky falls deathly ill with fever. In his last hours, he is delirious, imagining himself again sitting before the general; at first, Akaky pleads forgiveness, but as his death nears, he curses the general.
Soon, a corpse, identified as Akaky's ghost, haunts areas of St. Petersburg, taking overcoats from people; the police are finding it difficult to capture him. Finally, Akaky's ghost catches up with the general—who, since Akaky's death, had begun to feel guilt over having mistreated him—and takes his overcoat, frightening him terribly; satisfied, Akaky is not seen again. The narrator ends his narration with the account of another ghost seen in another part of the city. This other ghost meets the description of one of the ruffians.
Petrovich: One-eyed, heavy-drinking, decent tailor whom Bashmachkin hires to make his new cloak. Petrovitch was once a serf.
Wife of Petrovich: Woman of plain looks whom the narrator says Petrovitch calls "a low female and a German" when they argue.
Bearded Assailants: Men who steal Akaky's new cloak.
Landlady of Bashmachkin: Elderly woman who advises Akaky to report the theft of his cloak to the district police chief.
District Police Chief: Official who hears Akaky's report about his stolen cloak. The policeman asks Akaky embarrassing questions, as if he was a criminal. The policeman is of no help.
Employee With Advice: Coworker of Akaky who advises him to see a certain prominent personage in a government office who will help Akaky track down his stolen cloak.
Prominent Personage: Bureaucrat mainly concerned with demonstrating the power he wields as a supervisor. He excoriates Akaky for not going through the proper government channels to get an interview. He is of no help.
Physician: Doctor called after Akaky develops a throat infection. He tells Akaky's landlady to order a coffin.
Akaky progresses from an introverted and hopeless but functioning non-entity with no expectations of social or material success to one whose self-esteem and thereby expectations are raised by the overcoat. Akaky is described as humorously fit for his position as a non-entity. He is not oppressed by the nature of bureaucratic work because he enjoys performing bureaucratic tasks like copying because he lacks an inner life. Gogol makes light of his fitness for mundane bureaucratic activities by joking that Akaky was always "to be seen in the same place, the same attitude, the same occupation; so that it was afterwards affirmed that he had been born in undress uniform with a bald head." When Akaky is asked to make a minor change in a document instead of merely copying it, he cannot do it.Gogol 3–6 Akaky "labored with love" and longed for nothing but copying.Nikolai Gogol, "The Overcoat" (Coradella Collegiate Bookshelf Editions, 2004) 5. A good contrast would be Melville's Bartleby, the Scrivener. Bartleby is quite adept at his job as a copyist, but arrives "incurably forlorn" when he is first employed.Herman Melville, "Bartleby the Scrivener," Billy Budd and Other Stories (New York: Penguin Books, 1986) 11. Bartleby begins rejecting his work saying "I would prefer not to," gradually rejecting more and more, until he finally dies staring at a wall having rejected life itself. Bartleby's antisocial, otherworldly and melancholy features make him uncanny and he has been interpreted as a provocateur of existential crisis.For an existential reading of Bartleby see Olga Todoric, "Bartleby, the Absurd Hero" Moderna Språk 94.1 (2000) 15–18. Akaky, on the other hand, is presented in a humorous way initially. This is partly because he represents a "type" presented in anecdotal form by Gogol.See Vissarion Belinsky's theory of literary types in "The Russian Story and Mr. Gogol's Stories" (1835).
Critics have noted the famous "humane passage" which demonstrates a sudden shift in the narration's style from comic to tragic.Boris Eichenbaum, Beth Paul and Muriel Nesbitt, "The Structure of Gogol's 'The Overcoat,'" The Russian Review 22.4 (1963): 13. Though Akaky is not oppressed by his task, he is by his coworkers who treat him "in a coolly despotic way" and "laughed at and made fun of him". Akaky usually does not respond, until finally he is provoked to exclaim "Leave me alone! Why do you insult me?" Upon hearing this, one new worker was compelled to stop. This young man never forgot Akaky and his "heart-rending words" which carried the unspoken message "I am thy brother." Remembering Akaky he "shuddered at how much inhumanity there is in man."Gogol 3–5 Indeed, the coworker's comments underscore one possible interpretation of the story:
Akaky's overcoat allows him to become human instead of a merely bureaucratic tool. A Marxist reading of the text would interpret Akaky's material desire as granting him humanity. The story does not condemn private acquisition and materialism, but asserts that human beings can have fulfillment from attention to material goods. Material goods, in particular clothing, do not merely mask real human character, but can modify a person's identity in a positive and liberating way. Akaky's social alienation and belittlement give way to community inclusion and genuine respect.
It is also possible to read the text from a psychoanalytic perspective.See Daniel Rancour-Laferriere, Out from Under Gogol's Overcoat: A Psychoanalytic Study, (Anne Arbor: Ardis 1982) 251. Akaky's libido is repressed and sublimated into the task of copying. After he acquires the coat, he expresses sexual interest. Akaky "even started to run, without knowing why, after some lady."Gogol 27 He also "halted out of curiosity before a shop window to look at a picture representing a handsome woman...baring her whole foot in a very pretty way."Gogol 25 He laughs and does not know why because he experiences previously unknown feelings. Akaky also treats the coat with the tenderness and obsession of a lover. When the construction of the coat is first commissioned Akaky feels that his existence became "fuller, as if he were married."Gogol 19
Akaky's low position in the bureaucratic hierarchy is evident, and the extent to which he looks up the hierarchical ladder is well documented; sometimes forgotten, according to Harold McFarlin, is that he is not the lowest-ranked in the hierarchy and thus in society. He has mastered the bureaucratic language and has internalized it to the extent that he describes and treats the non-civil servants ("only two 'civilians,' the landlady and tailor, play more than incidental roles") as if they are part of the same world—the tailor is described as sitting "like a Turkish Pasha", that is, a government official, and Akaky "treats the self-effacing old landlady just like his bosses treat him at the office ('somehow coldly and despotically')".
Despite all hope, Akaki Akakiyevich's life does not change significantly as a result of acquiring the coat. Although his new coat attracts attention, he himself does not. While he already embodied the paradigmatic cog in the system during his lifetime, his transformation into a ghost makes the absence of any individuality, and ultimately his authoritarian personality (Adorno), completely recognizable. The ghost gradually loses his Akakij identity, becomes someone indeterminate and resembles the robbers who previously stole Akakij's coat.
Interpretations
Gogol makes much of Akaky's name in the opening passages, saying, "the circumstances were such that it was quite out of the question to give him any other name..." The literal meaning of the name Acacius, derived from the Greek, is "harmless" or "lacking evil", showing the humiliation it must have taken to drive his ghost to violence. His surname Bashmachkin, meanwhile, comes from the word 'bashmak', a type of shoe. It is used in an expression "быть под башмаком" which means to be "under someone's thumb" or to "be henpecked".
"How little humane feeling after all was to be found in men's hearts; how much coarseness and cruelty was to be found even in the educated and those who were everywhere regarded as good and honorable men."
The narrator's portrayal of Akaky jars the reader, like the young man himself, from carefree mockery to graven sympathy. Gogol is noted for his instability of style, tone, genre among other literary devices, as Boris Eichenbaum notes. Eichenbaum also notes that Gogol wrote "The Overcoat" in a skaz—a difficult-to-translate colloquial language in Russian deriving from or associated with an oral storytelling tradition.
Critical assessment
Vladimir Nabokov, writing in his Lectures on Russian Literature, gave the following appraisal of Gogol and his most famous story: "Steady Pushkin, matter-of-fact Leo Tolstoy, restrained Anton Chekhov have all had their moments of irrational insight which simultaneously blurred the sentence and disclosed a secret meaning worth the sudden focal shift. But with Gogol this shifting is the very basis of his art, so that whenever he tried to write in the round hand of literary tradition and to treat rational ideas in a logical way, he lost all trace of talent. When, as in the immortal The Overcoat, he really let himself go and pottered on the brink of his private abyss, he became the greatest artist that Russia has yet produced."
Adaptations
Films
A number of films have used the story, both in the Soviet Union and in other countries:
Radio
Ballet
In popular culture
Notes
External links
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