Running Head: THE OVERCOAT: A SARTORIAL TRAGEDY SATURATED IN SATIRE 1

J Dough

The Overcoat: A Sartorial Tragedy Saturated in Satire

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Instructor J Dough

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In 1842, Nikolai Vasilyevich Gogol published a short story entitled “The Overcoat”.

This tale takes place in St. Petersburg and details the life and tribulations of a perpetually hapless

desk-clerk named Akaki Akakievich. “The Overcoat” combines a conversational narrative,

cultural references, and existential intrigue to create a parable that examines the dissolution of

human nature within the mire of modern bureaucracy.

The narration, exposition, and events of The Overcoat have an anecdotal and familiar

tone, almost as if the story is taking place between two good friends. This is seen in the

narrator’s careful use of names, hyperbolic events, and perfectly flawed characters that give the

story a sense of legend. The narrator is cautious in using the names of people or institutions that

possess political power, as in the case of a “certain department” or the “prominent personage”.

This implies that the narrator is either tangibly fearful of the influence of the unnamed entities or

that their names aren’t included for the sake of streamlining a fable. Regardless, the narrator’s

selective ambiguity adds to the familiar tone of the story. Later in the story the narrator includes

the following, “gossip which a Russian man can never, under any circumstances, refrain from, or

even when there is nothing to say, recounting everlasting anecdotes” (Gogol, 1842). This line

may be interpreted as further evidence that the story is a social parable being passed on from one

acquaintance to another.

The perfect serendipity of events and their exaggerated impacts also adds to the larger-

than-life sense of wonder conveyed in the later stages of the story. Gogol manages to make the

creation of the overcoat into an almost magical process. He details Akaki’s preparation in such a

way that it appears the process is affecting his very nature, “Fire gleamed in his eyes:

occasionally, the boldest and most daring ideas flitted through his mind; why not, in fact, have

marten fur on the collar?”, (Gogol, 1842). Once the coat is finally created, the unnatural
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attraction that it elicits on those that witness it further emphasizes its importance. This appears to

be planned to exacerbate the gravitas when Akaki is robbed of the coat. Without the surreal

circumstances surrounding the coat its absence only represents a material loss. With the

significance of the coat established, its theft then represents the loss of Akaki’s blossoming

autonomy.

Arguably more magical than the supernatural events are the characters in this story. Each

of the main characters are neatly defined by their profession and their greatest flaws. Akaki was

a “perpetual titular counselor” destined by his very name to personify mediocrity and attract

misfortune. Akaki’s character is flat and static, until the moment the overcoat enters his life and

redefines him. Petrovitch is a master tailor but has arthritic fingers, one eye, and a penchant for

drinking that affects all aspects of his life. His alcoholism makes him a dynamic character

because his disposition and temperament appear to be decided by his blood alcohol content. The

Captain’s position is a police officer, and he is characterized by his insouciant approach to time

and general cantankerousness. He is one of many static antagonists Akaki faces, whose sole

purpose seems to be the generation of conflict. A character very similar to the officer is the

prominent personage. He was a high-ranking bureaucrat whose once benevolent nature was

corrupted by the allure of hollow power and empty pride. The main difference between him and

the officer is that the prominent personage experiences a dynamic shift in his character when he

faces his guilt and the apparition of Akaki.

The setting of the story also plays an important role in cementing the sense of familiarity

between the narrator and audience. The story is set in St. Petersburg, which at the time was the

capital of Imperial Russia, and an artistic, cultural, and political focal-point of 19th century

Europe. The setting of events in the story on specific streets, real blocks, and actual bridges in
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Russia adds a depth of realism that immerses the audience into the narrator’s world. The vivid

description of modest living, wages, and the day-to-day lives of the characters adds context and

connectivity to a story already overflowing with detail. The Russian weather also plays a pivotal

role in the progression of the story. Had it not been for the notorious rime of Russian winter,

there would have been no reason for Akaki to begin his quest to craft the perfect coat. This

representation of man vs nature is one of the many conflicts that results in Akaki’s inevitable

demise.

Alongside his use of street names and monuments to literally map out the events of the

story, Gogol’s description of the bridges that Akaki may symbolize something more significant.

The first bridge he is routinely seen at is the Malo-Kalinkinsky bridge, which at the time was in a

state of disrepair and due to be replaced. This could be emblematic of the disarray of Akaki’s

original coat, and his character in general, before being bestowed with the supernatural blessing

of the overcoat. After the climax, when Akaki’s decaying visage confronts the prominent

personage, he is seen departing on the Obhukovsky Bridge. This bridge was built around the

same time as the story to replace a rotting wooden one. It could thus be interpreted to represent

the overcoat, peace for Akaki’s spirit, and the story’s resolution.

One of the most interesting facets of this story is how the author integrates elements of

comedy and tragedy to illustrate the paradoxical nature of humanity. The narrator’s explanation

of Akaki’s misfortunate destiny is so absurdly bleak that is almost comical. It is immediately

followed with the “heart-rending” interjection of the “leave me alone” exchange. This clash of

dark-humor with the emotional angst of humiliation creates a contradictory tone which bears

reflection. It is immediately followed up with his coworker having the revelation “I am thy

brother.” (Gogol, 1842). Another example of the interspersing of comedy and tragedy to
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illustrate the human condition would be the brief exchange with the physician. When Akaki falls

ill following his humiliation by the prominent personage “And as for you, my dear, don’t waste

your time on him: order his pine coffin now, for an oak one will be too expensive for him”

(Gogol, 1842). This line is dark, comedic, ludicrous, and tragic and once again raises the

question of what is it that gives value to a human life.

It is unsurprising that “The Overcoat” is widely considered to be a cornerstone of Russian

literature. Nikolai Gogol’s brilliantly bleak exposition, intimately detailed setting, and stranger-

than-fiction characters culminates in a parable that perfectly illustrates the full spectrum of

humanity. From Dostoevsky to Nabokov, this dark and shamefully comedic journey into the

heart of human nature served as inspiration for some of the greatest literary minds for

generations to come.
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References

Dennison, T., & Nafziger, S. (2012). Living Standards in Nineteenth-Century Russia. Journal of

Interdisciplinary History, 43(3), 397-441. doi:10.1162/jinh_a_00424

Gogol, N. V. (1842). The Overcoat. Retrieved February 01, 2018, from

http://www.englishlibrary.org/story_gogol.html

Gusevich, D. (2013). Obhukovsky Bridge. Retrieved February 16, 2018, from

http://www.encspb.ru/object/2855747825?lc=ru