Grotesque Characters In Gogol's 'The Nose'

The interrelationship between “The Overcoat,” written by Nikolai Gogol, and “Gogol,” written by Jhumpa Lahiri, may not be apparent at first, but with the help of “My Two Lives,” also written by Jhumpa Lahiri, one can see that both “The Overcoat” and “Gogol” are connected by ties that hold them together. Although Gogol and the speaker in “My Two Lives” share similar backgrounds and can directly relate to each other, Akaky can also connect to Lahiri and Gogol because all they all yearn for acceptance from those around them. One point of comparison is the practice of naming connects Akaky, from “The Overcoat”, and Gogol together by having similar practices. Another similarity between all three works is that each main character questions their identity, eventually overcoming their struggle of being seen as different.

The reader is convinced that Gogol has had many experiences of his name being said with hesitation and lack of ease that normal American names are pronounced with. Gogol must often compare himself to his peers via how teachers and other authorities handle his unique name. Furthermore, Gogol himself is consumed with doubt in regards to his name, what it means, and how it ties him to his heritage in a way he in unsure how to accept. However pleased Gogol may have been with Mr. Lawson’s approach, everything changes when the class reads “The Overcoat” by Nikolai Gogol. “With growing dread and a feeling of slight nausea, he watches as Mr. Lawson distributes the books...the sight of it [“Gogol”] printed in capital letters on the crinkly page upsets him viscerally” (89). Gogol wants nothing to do with his name at this point, even the book it is printed in is “particularly battered, the corner blunted, the cover spotted as if by a whitish mold,” (89). The confusion Gogol associates with his own name infects him and things around him, just like the “warmth [that] spreads from the back of Gogol’s neck to his cheeks and his ears,” (91). The rest of his classmates, “begin to moan in unison,” (92), and Gogol “feels betrayed,” (91). Gogol takes the class’s negative reaction to the Russian author’s biographical information as a personal assault. It reinforces his rejection to his own name as “each time the name

With the measured step and calm collected air of an asylum-physician approaching in the public hall some patient beginning to show indications of a coming paroxysm, Claggart deliberately advanced within short range of Billy, and mesmerically looking him in the eye, briefly recapitulated the accusation. Not at first did Billy take it in. When he did, the rose-tan of his cheek looked struck as by white leprosy. He stood like one impaled and gagged. Meanwhile the accuser's eyes removing not as yet from the blue dilated ones, underwent a phenomenal change, their wonted rich violet color blurring into a muddy purple. Those lights of human intelligence losing human expression, gelidly protruding like the alien eyes of certain uncatalogued creatures of the deep. The first mesmeric glance was one of serpent fascination; the last was as the hungry lurch of the torpedo-fish (70-71).

Before his father’s death, Gogol struggles with his name and being pulled between two cultures, and is at a point in his life where he is least comfortable with himself. Gogol dates

It has been said that beauty is in the eye of the beholder, but the protagonist in the play by Edmond Rostand, Cyrano de Bergerac, can’t find the beauty in his distinctive and prominent nose; because overtakes not just his face but his life. Cyrano is so obsessed with his unsightly nose he overcompensates by bragging, showing off, and joking about it. Due to his self-consciousness, he attempts to distract others from his internal suffering caused by his looks, making Cyrano the beautifully tragic hero in this story of love and deception.

I believe that a very prominent theme in this story is the struggles in society relating to classes. One of the things that Gogol most often points out is the dress and ranking of the characters in this story. For instance, the barber Ivan Yakovlevitch is described as a very dirty man who does not care about his appearance, probably emphasizing his lower class ranking. Kopek is described as very well dressed and has a somewhat higher ranking of “Major.” Meanwhile, when he spots his nose masquerading as a very high ranked man, it is dressed exquisitely. The nose draws envy of everyone with its appearance and apparent rank. The ludicrousness of a nose causing envy and admiration and fear in people, even in Kopek who owns it, really emphasizes how ridiculous Gogol perceives the class system to be.

Edmond Rostand’s Cyrano de Bergerac is a heroic comedy about a poet and swordsman who, despite his charm and intelligence, is incredibly self-conscious due to his unusually large nose. When

In light of Gogol’s parent’s cultural roots and norms it is difficult foreign born Americans to assimilate into a new society. Gogol’s sudden change in “normal” can be traumatic discouraging for him to conform into what is “normal” in America. “The New World offers professional opportunity and financial betterment but also insists on assimilation and acculturation, a rejection of old habits, traditions and conditioning, and a merging with the culture of the new context […] invited to experience the death of the self as he has known it. He is asked to despise home culture which is seen by the New World as inferior, as less

In the beginning of the story “The Nose”, the story seemed quite normal. Ivan Yakovlevich was enjoying hot rolls first thing in the morning and found a nose in his roll. The humors part was he

All throughout the text, (mostly the second and third chapters) parts of Ivan's life are explained in a neutral, informative tone. It is only when he starts dying, that he starts to see his life through a lens of negativity, and wrong. He describes his life as being "ordinary, and, therefore most awful," after reviewing it in whole. He realizes that with his death, he will have accomplished nothing more than leading a painfully normal life, with a meaningless career.

One major theme that is present in the entire novella is the inevitability of death. Death is something that happens to everyone. No matter how high your social status is, there will come a time when you will wither and die. It does not matter how rich you are or how poor. The major turning point in the story is when Ivan realized that he was getting closer to death every day. Ivan Ilych realized that the customs and traditions of the aristocracy which he had thought were important was the cause of his metaphorical death. He had lost himself while he chased after wealth, social status, and power. He had forgotten about how to live a simple, happy life. He had forgotten about the that there are other people whose concerns and issues that are much more important that his. He has been immersed in the mediocrity and artificiality of life that he has forgotten how it is to care and to love other people.

On one hand, Gogol discusses the seemingly meaningless life and death of a government employee in 19th century Russia as he purchases and loses an overcoat, while on the other Kafka’s protagonist deals with surrealism as he attempts to adapt to his mysteriously transformed body. However, both authors use their protagonists’ personalities and their relationships with the people around them to portray how their economic situations shape their lives. More specifically, both Gogol and Kafka argue that money provides the characters with confidence, power, and masculinity. By examining Akaky’s transformation as he purchases his new overcoat, how Gregor makes decisions as a human, and how both characters treat fictional women, one can see that examining these two stories together allows one to see how the above characteristic traits pervade all aspects of life.

Ivan Ilyich is introduced as a working man "liked by them all", although from the start you understand that he is dead (Tolstoy). This differs from Gregor 's story where he is introduced as being "transformed in his bed into a horrible vermin," and the readers do not know that Gregor is eventually going to die in the story(Kafka). In the beginning of each story both men are likeable. The indirect characterization allows the reader to analyze the behavior of each character to further understand their personality. Ivan is known as a man who places heavy importance on work. This is known early into the text. Gregor is very similar in this aspect as his own mother states to his employer, "The lad only ever thinks about the business"(Kafka). Ivan felt "the whole interest of his life now centered in the official world," creating a similar mindset with Gregor(Tolstoy). It is not until later in the text that the reader understands what a toll this takes on the family life.

Allusions to Nikolai V. Gogol and his short story "The Overcoat" permeate Jhumpa Lahiri's novel The Namesake, beginning with Gogol's being the name the protagonist is called through most of the book. Yet few of the reviewers of the novel mentioned Nikolai Gogol at all in their discussions of the novel, except to describe the protagonist Gogol's loathing of his name, or to quote without comment or explanation Dostoevski's famous line, "We all came out of Gogol's Overcoat." So far, no one has looked beyond the surfaces to examine the significance of the allusions to Gogol that are so much a part of the fabric of Lahiri's novel.

see a short story about a poor man wishing to survive in a cruel world. However,