Как звали главного героя рассказа шинель гоголя

«The Overcoat» (Russian: Шине́ль, translit. Shinyél’; sometimes translated as «The Cloak«) is a short story by Russian author 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».^[1]

Plot[edit]

The story narrates the life and death of titular councillor Akaky Akakievich Bashmachkin (Russian: Акакий Акакиевич Башмачкин), an impoverished government clerk and copyist in the Russian capital of St. Petersburg. Although Akaky is dedicated to his job, he is little recognized in his department for his hard work. Instead, the younger clerks tease him and attempt to distract him whenever they can. His threadbare overcoat is often the butt of their jokes. Akaky decides it is necessary to have the coat repaired, so he takes it to his tailor, Petrovich, who declares the coat irreparable, telling Akaky he must buy a new overcoat.

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), 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.

Characters[edit]

Akaky Akakievich Bashmachkin: Bureaucrat in one of the departments of the Russian government in St. Petersburg, the nation’s capital city. Bashmachkin, about fifty, is a quiet, self-effacing man with red hair and a receding hairline. His job is to copy documents such as letters. Although he enjoys his work and never makes a mistake, he has no desire to take on more challenging work, realizing that he has limited capabilities. Because he is meek and dresses shabbily, most of his coworkers regard him as a nobody and frequently pick on him. When his cloak becomes so frayed that it can no longer protect him against the bitter cold, he dedicates himself to saving enough money to purchase a new cloak.^[2]

Petrovich: One-eyed, heavy-drinking, decent tailor whom Bashmachkin hires to make his new cloak. Petrovitch was once a serf.^[2]

Wife of Petrovich: Woman of plain looks whom the narrator says Petrovitch calls «a low female and a German» when they argue.^[2]

Bearded Assailants: Men who steal Akaky’s new cloak.^[2]

Landlady of Bashmachkin: Elderly woman who advises Akaky to report the theft of his cloak to the district police chief.^[2]

District Police Chief: Official who hears Akaky’s report about his stolen cloak. The policeman asks Akaky embarrassing questions, as if he were a criminal. The policeman is of no help.^[2]

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.^[2]

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.^[2]

Physician: Doctor called after Akaky develops a throat infection. He tells Akaky’s landlady to order a coffin.^[2]

Interpretations[edit]

Gogol makes much of Akaky’s name in the opening passages, saying, «Perhaps it may strike the reader as a rather strange and farfetched name, but I can assure him that it was not farfetched at all, that the circumstances were such that it was quite out of the question to give him any other name…» The name Akaky Akakievich Bashmachkin in Russian means «Akaky Bashmachkin, the son of Akaky», similarly to «John Johnson», and has similar comedic value; it also communicates Akaky’s role as an everyman. In addition, the literal meaning of the name Akaky, derived from the Greek, is «harmless» or «lacking evil», showing the humiliation it must have taken to drive his ghost to violence.^{[citation needed]} 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».^[3]

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 not merely introverted, but 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. Akaky «labored with love» and longed for nothing but copying. He found it «a varied and agreeable employment. Enjoyment was written on his face.»^[4] 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.^[5] 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.^[6] 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.^[7] He enjoys 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.^[8]

Critics have noted the famous «humane passage» which demonstrates a sudden shift in the narration’s style from comic to tragic.^[9] 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» to which Akaky usually «answered not a word» until finally he is provoked to exclaim «Leave me alone! Why do you insult me?» in a way «which moved to pity» so that a new worker suddenly «stopped short» as if he had «undergone a transformation». 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.»^[10] Indeed, the coworker’s comments underscore one possible interpretation of the story:

«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.^{[citation needed]}

Akaky’s overcoat allows him to become human instead of a merely bureaucratic tool.^{[citation needed]} A Marxist reading of the text would interpret Akaky’s material desire as granting him humanity.^{[citation needed]} The story does not condemn private acquisition and materialism, but asserts that human beings can have fulfillment from attention to material goods.^{[citation needed]} 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.^{[citation needed]} Akaky’s social alienation and belittlement give way to community inclusion and genuine respect.^{[citation needed]} People are brought together by material goods.^{[citation needed]}

It is also possible to read the text from a psychoanalytic perspective.^[11] 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.»^[12] 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.»^[13] He laughs and doesn’t 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.»^[14]

Akaky’s low position in the bureaucratic hierarchy is evident, and the extent to which he looks up the hierarchical ladder is well documented;^[15] sometimes forgotten, according to Harold McFarlin,^{[citation needed]} 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»^{[citation needed]}) 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’)».^[16]

Critical assessment[edit]

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 Tolstoy, restrained 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.»^[17]

Adaptations[edit]

Films[edit]

A number of films have used the story, both in the Soviet Union and in other countries:

• The Overcoat (1916) – an American silent film directed by Rae Berger
• The Overcoat (1926) – a Soviet silent film directed by Grigori Kozintsev and Leonid Trauberg
• The Overcoat (1951) – a film of Marcel Marceau’s Mime Play with W. Schleif in Berlin
• The Overcoat («Il Cappotto») (1952) – an Italian film directed by Alberto Lattuada
• The Awakening (1954), an adaptation for the Douglas Fairbanks, Jr., Presents television series starring Buster Keaton
• The Bespoke Overcoat (1955) – an Oscar-winning short British film directed by Jack Clayton based on Wolf Mankowitz’s 1953 play of the same name. Here the story is transposed to the East End of London and the protagonists are poor Jews working in the clothing trade.
• The Overcoat (1959) – a Soviet film directed by Aleksey Batalov
• The Overcoat (1976) – an Iraqi Kurdish made-for-TV film adapted by Simko Nakam and directed by Jamal Mohamad
• Nayi Sherwani (1986) – an adaptation for the Indian DD National television series Katha Sagar by Shyam Benegal
• The Overcoat (1997) – a Greek film
• The Overcoat (2001) – a Canadian made-for-TV film produced by the CBC
• The Overcoat – an unfinished animated film by Yuriy Norshteyn and Francheska Yarbusova, in the works since the early 1980s.^[18]
• The Overcoat (2017) – a short film adapted and directed by Patrick Myles starring Jason Watkins, Tim Key, Vicki Pepperdine and Alex Macqueen.^[19]
• The Overcoat (2018) – an animated special adapted by Hugh O’Conor and directed by Sean Mullen & Meelis Arulepp, starring Cillian Murphy and Alfred Molina.^[20]

Radio[edit]

• Gogol’s story was adapted twice on the radio series Theatre Royal, first on October 11, 1953 and then on August 4, 1954, both versions starring Sir Michael Redgrave as Akaky.
• Hans Conreid starred as Akaky in an adaptation on The CBS Radio Mystery Theater on March 3, 1977.
• On April 3, 2002, the BBC Radio 4 series Three Ivans, Two Aunts and an Overcoat broadcast an adaptation by Jim Poyser of the story starring Stephen Moore as Akaky. In this version, the Very Important Person whose overcoat Akaky’s ghost takes is Akaky’s immediate superior Colonel Borzov, and the ending is altered to have Akaky’s ghost visit him in his office (rather than on his way home in his sleigh, as in the story) to take both the overcoat and Borzov’s Very Important Person medal (and a bag of sugared rusks).

Ballet[edit]

• The Russian composer German Okunev was working on a ballet version of ‘The Overcoat’ at the time of his death in 1973: it was completed and orchestrated by V. Sapozhnikov.
• A recent adaptation by Morris Panych and Wendy Gorling, set to various music by Russian composer Dmitri Shostakovich, was performed by actors using dance and mime.^[21] A film version was produced by the CBC.
• The Danish choreographer Flemming Flindt created a version for Dennis Nahat and the Clevelend-San Jose Ballet. The principal role was performed by Rudolph Nureyev at the world premiere at the Edinburgh Festival in the summer of 1990.

In popular culture[edit]

• The protagonist in the 2003 novel The Namesake, by Jhumpa Lahiri, is named for Gogol because of the importance that «The Overcoat» had on his father as a young man in Calcutta. The «Gogol» of this novel finds meaning in the story, after struggling with the name given to him by his father. In the novel, Gogol’s father justifies his choice for his son’s name by saying «We all came out of Gogol’s Overcoat……One day you will understand…» An adaptation of the novel was produced as a film, The Namesake, in 2006, directed by Mira Nair.

Notes[edit]

References[edit]

• Gogol, Nicolai V. The Overcoat and Other Tales of Good and Evil. New York: W. W. Norton & Company, 1965
• Graffy, Julian Gogol’s The Overcoat: Critical Studies in Russian Literature London: Bristol Classical Press, 2000.
• Karlinsky, Simon. The Sexual Labyrinth of Nikolai Gogol. Chicago (Ill.): University of Chicago, 1992. Print.
• Proffitt, Edward Gogol’s `Perfectly True’ Tale: `The Overcoat’ and Its Mode of Closure, in Studies in Short Fiction, Vol. 14, No. 1, Winter, 1977, pp. 35–40

External links[edit]

• The Overcoat, full text
• The Overcoat, complete Public Domain recording
• The Cloak public domain audiobook at LibriVox

«The Overcoat» (Russian: Шине́ль, translit. Shinyél’; sometimes translated as «The Cloak«) is a short story by Russian author 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».^[1]

Plot[edit]

The story narrates the life and death of titular councillor Akaky Akakievich Bashmachkin (Russian: Акакий Акакиевич Башмачкин), an impoverished government clerk and copyist in the Russian capital of St. Petersburg. Although Akaky is dedicated to his job, he is little recognized in his department for his hard work. Instead, the younger clerks tease him and attempt to distract him whenever they can. His threadbare overcoat is often the butt of their jokes. Akaky decides it is necessary to have the coat repaired, so he takes it to his tailor, Petrovich, who declares the coat irreparable, telling Akaky he must buy a new overcoat.

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), 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.

Characters[edit]

Akaky Akakievich Bashmachkin: Bureaucrat in one of the departments of the Russian government in St. Petersburg, the nation’s capital city. Bashmachkin, about fifty, is a quiet, self-effacing man with red hair and a receding hairline. His job is to copy documents such as letters. Although he enjoys his work and never makes a mistake, he has no desire to take on more challenging work, realizing that he has limited capabilities. Because he is meek and dresses shabbily, most of his coworkers regard him as a nobody and frequently pick on him. When his cloak becomes so frayed that it can no longer protect him against the bitter cold, he dedicates himself to saving enough money to purchase a new cloak.^[2]

Petrovich: One-eyed, heavy-drinking, decent tailor whom Bashmachkin hires to make his new cloak. Petrovitch was once a serf.^[2]

Wife of Petrovich: Woman of plain looks whom the narrator says Petrovitch calls «a low female and a German» when they argue.^[2]

Bearded Assailants: Men who steal Akaky’s new cloak.^[2]

Landlady of Bashmachkin: Elderly woman who advises Akaky to report the theft of his cloak to the district police chief.^[2]

District Police Chief: Official who hears Akaky’s report about his stolen cloak. The policeman asks Akaky embarrassing questions, as if he were a criminal. The policeman is of no help.^[2]

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.^[2]

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.^[2]

Physician: Doctor called after Akaky develops a throat infection. He tells Akaky’s landlady to order a coffin.^[2]

Interpretations[edit]

Gogol makes much of Akaky’s name in the opening passages, saying, «Perhaps it may strike the reader as a rather strange and farfetched name, but I can assure him that it was not farfetched at all, that the circumstances were such that it was quite out of the question to give him any other name…» The name Akaky Akakievich Bashmachkin in Russian means «Akaky Bashmachkin, the son of Akaky», similarly to «John Johnson», and has similar comedic value; it also communicates Akaky’s role as an everyman. In addition, the literal meaning of the name Akaky, derived from the Greek, is «harmless» or «lacking evil», showing the humiliation it must have taken to drive his ghost to violence.^{[citation needed]} 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».^[3]

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 not merely introverted, but 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. Akaky «labored with love» and longed for nothing but copying. He found it «a varied and agreeable employment. Enjoyment was written on his face.»^[4] 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.^[5] 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.^[6] 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.^[7] He enjoys 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.^[8]

Critics have noted the famous «humane passage» which demonstrates a sudden shift in the narration’s style from comic to tragic.^[9] 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» to which Akaky usually «answered not a word» until finally he is provoked to exclaim «Leave me alone! Why do you insult me?» in a way «which moved to pity» so that a new worker suddenly «stopped short» as if he had «undergone a transformation». 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.»^[10] Indeed, the coworker’s comments underscore one possible interpretation of the story:

«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.^{[citation needed]}

Akaky’s overcoat allows him to become human instead of a merely bureaucratic tool.^{[citation needed]} A Marxist reading of the text would interpret Akaky’s material desire as granting him humanity.^{[citation needed]} The story does not condemn private acquisition and materialism, but asserts that human beings can have fulfillment from attention to material goods.^{[citation needed]} 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.^{[citation needed]} Akaky’s social alienation and belittlement give way to community inclusion and genuine respect.^{[citation needed]} People are brought together by material goods.^{[citation needed]}

It is also possible to read the text from a psychoanalytic perspective.^[11] 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.»^[12] 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.»^[13] He laughs and doesn’t 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.»^[14]

Akaky’s low position in the bureaucratic hierarchy is evident, and the extent to which he looks up the hierarchical ladder is well documented;^[15] sometimes forgotten, according to Harold McFarlin,^{[citation needed]} 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»^{[citation needed]}) 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’)».^[16]

Critical assessment[edit]

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 Tolstoy, restrained 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.»^[17]

Adaptations[edit]

Films[edit]

A number of films have used the story, both in the Soviet Union and in other countries:

• The Overcoat (1916) – an American silent film directed by Rae Berger
• The Overcoat (1926) – a Soviet silent film directed by Grigori Kozintsev and Leonid Trauberg
• The Overcoat (1951) – a film of Marcel Marceau’s Mime Play with W. Schleif in Berlin
• The Overcoat («Il Cappotto») (1952) – an Italian film directed by Alberto Lattuada
• The Awakening (1954), an adaptation for the Douglas Fairbanks, Jr., Presents television series starring Buster Keaton
• The Bespoke Overcoat (1955) – an Oscar-winning short British film directed by Jack Clayton based on Wolf Mankowitz’s 1953 play of the same name. Here the story is transposed to the East End of London and the protagonists are poor Jews working in the clothing trade.
• The Overcoat (1959) – a Soviet film directed by Aleksey Batalov
• The Overcoat (1976) – an Iraqi Kurdish made-for-TV film adapted by Simko Nakam and directed by Jamal Mohamad
• Nayi Sherwani (1986) – an adaptation for the Indian DD National television series Katha Sagar by Shyam Benegal
• The Overcoat (1997) – a Greek film
• The Overcoat (2001) – a Canadian made-for-TV film produced by the CBC
• The Overcoat – an unfinished animated film by Yuriy Norshteyn and Francheska Yarbusova, in the works since the early 1980s.^[18]
• The Overcoat (2017) – a short film adapted and directed by Patrick Myles starring Jason Watkins, Tim Key, Vicki Pepperdine and Alex Macqueen.^[19]
• The Overcoat (2018) – an animated special adapted by Hugh O’Conor and directed by Sean Mullen & Meelis Arulepp, starring Cillian Murphy and Alfred Molina.^[20]

Radio[edit]

• Gogol’s story was adapted twice on the radio series Theatre Royal, first on October 11, 1953 and then on August 4, 1954, both versions starring Sir Michael Redgrave as Akaky.
• Hans Conreid starred as Akaky in an adaptation on The CBS Radio Mystery Theater on March 3, 1977.
• On April 3, 2002, the BBC Radio 4 series Three Ivans, Two Aunts and an Overcoat broadcast an adaptation by Jim Poyser of the story starring Stephen Moore as Akaky. In this version, the Very Important Person whose overcoat Akaky’s ghost takes is Akaky’s immediate superior Colonel Borzov, and the ending is altered to have Akaky’s ghost visit him in his office (rather than on his way home in his sleigh, as in the story) to take both the overcoat and Borzov’s Very Important Person medal (and a bag of sugared rusks).

Ballet[edit]

• The Russian composer German Okunev was working on a ballet version of ‘The Overcoat’ at the time of his death in 1973: it was completed and orchestrated by V. Sapozhnikov.
• A recent adaptation by Morris Panych and Wendy Gorling, set to various music by Russian composer Dmitri Shostakovich, was performed by actors using dance and mime.^[21] A film version was produced by the CBC.
• The Danish choreographer Flemming Flindt created a version for Dennis Nahat and the Clevelend-San Jose Ballet. The principal role was performed by Rudolph Nureyev at the world premiere at the Edinburgh Festival in the summer of 1990.

In popular culture[edit]

• The protagonist in the 2003 novel The Namesake, by Jhumpa Lahiri, is named for Gogol because of the importance that «The Overcoat» had on his father as a young man in Calcutta. The «Gogol» of this novel finds meaning in the story, after struggling with the name given to him by his father. In the novel, Gogol’s father justifies his choice for his son’s name by saying «We all came out of Gogol’s Overcoat……One day you will understand…» An adaptation of the novel was produced as a film, The Namesake, in 2006, directed by Mira Nair.

Notes[edit]

References[edit]

• Gogol, Nicolai V. The Overcoat and Other Tales of Good and Evil. New York: W. W. Norton & Company, 1965
• Graffy, Julian Gogol’s The Overcoat: Critical Studies in Russian Literature London: Bristol Classical Press, 2000.
• Karlinsky, Simon. The Sexual Labyrinth of Nikolai Gogol. Chicago (Ill.): University of Chicago, 1992. Print.
• Proffitt, Edward Gogol’s `Perfectly True’ Tale: `The Overcoat’ and Its Mode of Closure, in Studies in Short Fiction, Vol. 14, No. 1, Winter, 1977, pp. 35–40

External links[edit]

• The Overcoat, full text
• The Overcoat, complete Public Domain recording
• The Cloak public domain audiobook at LibriVox

Характеристики героев

Акакий Акакиевич

Акакий Акакиевич Башмачкин – главный герой повести Н. В. Гоголя «Шинель», бедный титулярный советник в департаменте Петербурга. Это был одинокий, униженный судьбой и окружающими чиновник, при этом обладающий сердцем и чувствами. В его окружении полно жестоких и бессердечных людей, которые часто оскорбляют его, отчего кажутся ничтожными и духовно нищими. По описанию Гоголя, Башмачников – человек бедный, неприметный и заурядный. Никто не помнит даже, как он на работу поступил.

Внешне это низенький мужчина, немного рыжеватый и подслеповатый, с лысиной на лбу и морщинами на щеках. Ему отведена роль переписчика документов, что он делает с большим удовольствием. По сути, он беспрекословно выполняет указания начальства и особо задумываться над чем-либо не приходиться. Его работа не требует даже элементарной сообразительности. А когда ему предлагают какое-нибудь задание со смыслом, он начинает сильно волноваться. Однажды ему было предложено небольшое повышение, но он от него отказался от робости и неуверенности в своих силах.

Духовная жизнь этого героя также ограничена. Заказываю новую шинель, он не ищет роскоши, а всего лишь хочет защитить себя от холода и являться на работу в соответствующей форме. С того момента, как он обратился к портному Петровичу, мысли о новой шинели стали смыслом его существования. Теперь он меньше ел, меньше употреблял чая, не жег свечи по вечерам, не носил белье прачке, а потому дома ходил в одном и том же халате. И все это ради того, чтобы скопить денег на шинель. Даже лицо его начало светиться от этих мыслей, появился блеск в глазах. С появлением шинели с теплой подкладкой и меховым воротником, Башмачников совсем преобразился. Его коллеги в честь этого даже устроили праздник. К сожалению, это был единственный день, когда герой ходил в своей обновке. В тот же вечер на него напали грабители и сняли шинель. Когда Акакий Акакиевич обратился к будочнику за помощью, тот только отмахнулся от него. Также поступил и частный пристав, к которому он пошел на следующий день.

Но, пожалуй, хуже всего поступил тот, кого за глаза называли «значительное лицо». Если раньше он был в приятельских отношениях с этим лицом, то теперь тот занимал высокий пост и старался казаться как можно более «значительным». Со всей строгостью в лице и голосе он отчитал Акакия Акакиевича и нагрубил ему. В тот же день Башмачников перемерз на улице в своей старой, захудалой шинели и простудился. Через несколько дней он умер, но стал призраком являться у моста и отбирать у прохожих шинели. В один из вечеров он напал на своего знакомого высокопоставленного чиновника и с него тоже стянул шинель. С тех пор «значительное лицо» никому не грубит. Да и мертвец перестал появляться у моста. Происходящие в повести события показывают, что герой не желал никому зла и был достойным человеком, однако в силу своей слабохарактерности влачил «маленькую» и никчемную жизнь.

Петрович

Портной, бывший крепостной по имени Григорий. Имел кривой глаз и рябизну по всему лицу, но значился хорошим мастером своего дела. Имел жену, любил выпить. Когда Башмачкин пришёл к нему чинить шинель, он сообщил ему, что починить её уже нельзя, надо шить новую. И назвал цену — 150 рублей. После этого Акакий Акакиевич начал копить деньги, постоянно заходя к Петровичу поговорить о будущей шинели. И когда он накопил деньги, Петрович сшил ему замечательную шинель.

Значительное лицо

Генерал, недавно получивший это звание, которое испортило его. Выслушав Акакия Акакиевича, который пришёл к нему на приём по поводу грабителей, он даже не вслушался в проблему, а отправил бедного чиновника из кабинета, мол, тот порядка не знает, лезет прямо к такому значительному лицу. Через некоторое время после смерти Акакия Акакиевича тот вернулся к нему в виде мертвеца и снял с него генеральскую шинель.

Чиновник

Помощник столоначальника, решивший дать вечер вместо Акакия Акакиевича, в связи с покупкой им шинели, и пригласивший к себе коллег по работе. Жил он в богатом районе города, в хорошем доме. Возвращаясь поздно вечером домой с этой вечеринки, Акакий Акакиевич лишился своей шинели.

Два грабителя

Грабители, которые сняли шинель с Акакия Акакиевича. Оба были огромные и с усами. Один из них сказал, что шинель его, а второй приставил огромный кулак к лицу бедного чиновника.

Будочник

Видел, как сняли шинель с Акакия Акакиевича, но не предпринял никаких действий, решил, что это его друзья остановили. Посоветовал пойти поутру к надзирателю, чтобы тот нашёл грабителей.

Частный

Первый, к кому обратился Акакий Акакиевич после ограбления. Он долго не мог к нему попасть, а когда он всё же его принял, то Башмачкин, после его вопросов понял, что заниматься грабителями он вряд ли будет.

Мать Акакия Акакиевича

При крещении ей предоставили на выбор различные имена для сына, но ей ничего не понравилось, и она решила назвать его в честь отца — Акакий.

Иван Иванович Ерошкин

Кум, столоначальник в сенате и квартальный офицер, очень хороший человек. Присутствовал при крещении Акакия Акакиевича.

Арина Семеновна Белобрюшкова

Кума, присутствовала при крещении Акакия Акакиевича.

Директор Акакия Акакиевича

Назначил ему повышенную зарплату — 60 рублей, как будто специально для пошива шинели.

Каролина Ивановна

Любовница значительного лица. Именно к ней он ехал, кода явился мертвец в виде Акакия Акакиевича и снял с него шинель.

«Шинель» краткое содержание

Эта история начинается с рассказа о рождении одного петербургского чиновника, о происхождении его причудливого имени и переходит к повествованию его дел на службе. Это был мужчина низкого роста, немного подслеповатый, с морщинками на лбу, на щеках, и нездоровым цветом лица. Фамилия его была Башмачкин, а имя – Акакий. Имя ребенку выбирали долго. Так как все остальные предложенные имена при крещении казались странными, например, Моккия, Хоздазата, поэтому решили назвать его как отца. Так он стал Акакий Акакиевичем.

Когда он появился в департаменте в качестве чиновника для письма, никто не знал, настолько он был неприметным. Молодые чиновники его совсем не уважали, даже иногда посмеивались в лицо. Когда ему надоедали их шуточки, он говорил: «Оставьте меня, зачем вы меня обижаете?». И в этих словах было что-то странное, даже в голосе, которым он их произносил. Свою работу он делал с любовью. Его служба состояла, по сути, в переписывании бумаг. Он их переписывал и на работе, и дома. Наскоро похлебав щей, снова доставал баночку чернил и принимался за дело. Когда уже нечего было переписывать, он снимал для себя копию с какого-нибудь замысловатого документа. И только написавшись всласть, он ложился спать.

Однажды в департаменте ему было предложено небольшое повышение, но он оробел и отказался. Никоим образом его не волновало все, что делается на улице. Когда все стремились развлечься, он спешил домой заваривать себе чай. Однако его спокойствие и размеренную жизнь нарушило одно обстоятельство. Это было связано с петербургскими морозами, которые не раз делали предупреждение Акакий Акакиевичу. Дело в том, что шинель, которую он носил, давно утратила свой вид и прохудилась. Вскоре мороз припекал и спину, и плечо. А сослуживцы и вовсе шутки ради называли его шинель «капотом». Тогда он решил навестить знакомого портного — Петровича. Тот наотрез отказался чинить шинель и сказал, что необходимо шить новую. Что делать, ведь морозы лютые. Да и премию дали на целых двадцать рублей больше ожидаемого.

В результате Акакий Акакиевич согласился, решил экономить на всем, чтобы выплатить полную стоимость новой шинели – целых восемьдесят рублей. Перестал часто пить чай, реже зажигал свечи по вечерам, по мостовой шагал осторожно, чтобы не истереть подошвы, не носил белье прачке. Одним словом, ради мечты о новой мягкой шинели на вате и крепкой подкладе, стоило два-три месяца поголодать. Когда скопилась необходимая сумма, он сам с Петровичем ходил по лавкам и выбирал материалы: кошку на воротник, сукно, коленкор на подклад. За свою работу Петрович затребовал двенадцать рублей, а процесс шиться занял две недели.

И вот, наконец, наступил самый торжественный день в жизни Акакия Акакиевича. Шинель была готова и он сразу же надел ее в департамент. Там его все поздравляли и даже говорили, что нужно отпраздновать это событие. Смущенного чиновника спасло только приглашение на чай, поступившее от другого чиновника в отделе, который в тот день был именинником. После торжества Акакий Акакиевич как обычно вернулся домой, пообедал и отправился к одному чиновнику, проживающему в дальнем конце города. Там его шинель тоже всем понравилась, далее был ужин с шампанским. Несмотря на то, что он не хотел оставаться допоздна, его задержали почти до полуночи. Затем он незаметно удалился.

По дороге он был в таком веселом настроении, что даже решил следовать за какой-то дамой. Вскоре улицы стали пустынными и наводящими страх. Вдруг к нему подошли люди с усами, забрали новую шинель и толкнули его в снег. Акакий Акакиевич с криками побежал к будочнику, но тот не пожелал и пальцем пошевелить. Совершенно расстроенный он вернулся домой. На следующий день он обратился к частному приставу, у которого также не нашел помощи. В департаменте, увидев его в старом «капоте», его пожалели и даже думали сделать складчину, чтобы как-то помочь. В итоге была собрана сущая безделица и ему посоветовали обратиться к одному значительному лицу, который мог поспособствовать поискам шинели. Акакий Акакиевич так и поступил.

Значительное лицо только недавно приступило к своим обязанностям и старалось изо всех сил казаться более значительным. Со строгим лицом он отчитал приятеля, которого знавал раньше, но давно не видел. Акакий Акакиевич так и ушел ни с чем. Не чуя ног, он добрался до дома и свалился с горячкой. Через несколько дней, проведенных в беспамятстве и бреду, он умер. В департаменте об этом узнали лишь на четвертый день после похорон. Вскоре возле Калинкина моста стало появляться привидение, очень похожее по описаниям на Акакия Акакиевича. Мертвец сдирал с прохожих шинели, не разбирая чина и звания. Полиции никак не удавалось его поймать.

В это же время то самое значительное лицо, узнав о смерти приятеля, очень сожалел о случившемся. Дабы как-то развлечься и прогнать унылые мысли, он направился на вечеринку, а оттуда к некой Каролине Ивановне. По дороге он почувствовал, что кто-то схватил его за воротник. В нападающем он узнал Акакия Акакиевича. Тот торжествующе стащил с него шинель. Перепуганный генерал вернулся домой и более никогда не обходился грубо с подчиненными. С тех пор нападения мертвеца на прохожих прекратились. Хотя будочник утверждал, что видел еще одно привидение, но то было гораздо выше ростом и носило огромные усы.

Читайте так же — Н. В. Гоголь «Шинель»: анализ повести

Источник.