THE NOSE

- By Nikolai Gogol
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Russian writer of Ukrainian origin (1809–1852) "Gogol" redirects here. Not to be confused with Googol. For other uses, see Gogol (disambiguation). In this name that follows Eastern Slavic naming customs, the patronymic is Vasilievich and the family name is Gogol. Nikolai GogolНиколай Гоголь (Russian)Микола Гоголь (Ukrainian)Mykola HoholPortrait of Nikolai Gogol by Otto Friedrich Theodor von Möller (early 1840s)BornNikolai Vasilyevich Yanovsky(1809-03-20)20 March 1809[a] (OS)/(1809-04-01)1 April 1809 (NS)Sorochyntsi, Poltava Governorate, Russian EmpireDied21 February 1852(1852-02-21) (aged 42)Moscow, Russian EmpireResting placeNovodevichy CemeteryOccupationPlaywright, short story writer, novelistLanguageRussianPeriod1840–51Notable works Evenings on a Farm Near Dikanka (1831–1832) Mirgorod (1835) The Government Inspector (1836) Petersburg Tales [fr] (1833–1842) Dead Souls (1842) Signature Daguerreotype of Gogol taken in 1845 by Sergei Lvovich Levitsky (1819–1898) Nikolai Vasilyevich Gogol[b] (1 April [O.S. 20 March] 1809[a] – 4 March [O.S. 21 February] 1852) was a Russian novelist, short story writer, and playwright of Ukrainian origin.[2][3][4][5][6][7][8][9][10] Gogol used grotesque, for example in his works "The Nose", "Viy", "The Overcoat", and "Nevsky Prospekt". These stories, and others such as "Diary of a Madman", have also been noted for their proto-surrealist qualities. According to Viktor Shklovsky, Gogol's strange style of writing resembles the "ostranenie" technique of defamiliarization.[11] His early works, such as Evenings on a Farm Near Dikanka, were influenced by his Ukrainian upbringing, Ukrainian culture and folklore.[12][13] His later writing satirised political corruption in contemporary Russia (The Government Inspector, Dead Souls), although Gogol also enjoyed the patronage of Tsar Nicholas I who liked his work.[14] The novel Taras Bulba (1835), the play Marriage (1842), and the short stories "The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich", "The Portrait" and "The Carriage", are also among his best-known works. Many writers and critics have recognized Gogol's huge influence on Russian, Ukrainian and world literature. Gogol's influence was acknowledged by Fyodor Dostoevsky, Mikhail Saltykov-Shchedrin, Ryūnosuke Akutagawa, Franz Kafka, Mikhail Bulgakov, Vladimir Nabokov, Flannery O'Connor and others.[15][16] Eugène-Melchior de Vogüé said: "We all came out from under Gogol's Overcoat." Early life[edit] Gogol was born in the Ukrainian Cossack town of Sorochyntsi,[17] in the Poltava Governorate of the Russian Empire. His mother was descended from Leonty Kosyarovsky, an officer of the Lubny Regiment in 1710. His father Vasily Gogol-Yanovsky, who died when Gogol was 15 years old, was supposedly a descendant of Ukrainian Cossacks (see Lyzohub family) and belonged to the 'petty gentry'. Gogol knew that his paternal ancestor Ostap Hohol [uk], a Cossack hetman in Polish service, received nobility from the Polish king.[18] The family used the Polish surname "Janowski" (Ianovskii) and the family estate in Vasilevka was known as Ianovshchyna.[18] His father wrote poetry in Ukrainian as well as Russian, and was an amateur playwright in his own theatre. As was typical of the left-bank Ukrainian gentry of the early nineteenth century, the family was trilingual, speaking Ukrainian as well as Russian, and using Polish mostly for reading.[18] Mother was calling his son Nikola, which is a mixture of the Russian Nikolai and the Ukrainian Mykola.[18] As a child, Gogol helped stage plays in his uncle's home theater.[19] In 1820, Nikolai Gogol went to a school of higher art in Nezhin (Nizhyn) (now Nizhyn Gogol State University) and remained there until 1828. It was there that he began writing. He was not popular among his schoolmates, who called him their "mysterious dwarf", but with two or three of them he formed lasting friendships. Very early he developed a dark and secretive disposition, marked by a painful self-consciousness and boundless ambition. Equally early he developed a talent for mimicry, which later made him a matchless reader of his own works and induced him to toy with the idea of becoming an actor. On leaving school in 1828, Gogol went to Saint Petersburg, full of vague but ambitious hopes. He desired literary fame, and brought with him a Romantic poem of German idyllic life – Hans Küchelgarten, and had it published at his own expense, under the pseudonym "V. Alov." The magazines he sent it to almost universally derided it. He bought all the copies and destroyed them, swearing never to write poetry again. Literary development[edit] Cover of the first edition of The Government Inspector (1836) His stay in St. Petersburg forced Gogol to make a certain decision regarding his self-identification. It was a period of turmoil; the November Uprising in the lands of the former Polish-Lithuanian Commonwealth led to a rise of Russian nationalism.[18] Initially, Gogol used the surname Gogol-Ianovskii, but it soon became inconvenient. At first he tried to shorten it to the Russian-sounding "Ianov", but in the second half of 1830 he abandoned the Polish part of his surname altogether.[18] He even admonished his mother in a letter to address him only as "Gogol", as Poles had become "suspect" in St. Peteresburg.[18] Tsarist authorities encouraged the Ukrainian intellectuals to sever ties with the Poles, promoting a limited, folkloric Ukrainian particularism as part of the heritage of the Russian empire.[18] In 1831, the first volume of Gogol's Ukrainian stories (Evenings on a Farm Near Dikanka) was published under a pen name "Rudy Panko", was in line with this trend, and met with immediate success.[20] A second volume was published in 1832, followed by two volumes of stories entitled Mirgorod in 1835, and two volumes of miscellaneous prose entitled Arabesques. At this time, Russian editors and critics such as Nikolai Polevoy and Nikolai Nadezhdin saw Gogol as a regional Ukrainian writer, and used his works to illustrate the specific of Ukrainian national characters.[19] The themes and style of these early prose works by Gogol, as well as his later drama, were similar to the work of Ukrainian-language writers and dramatists who were his contemporaries and friends, including Hryhory Kvitka-Osnovyanenko. However, Gogol's satire was much more sophisticated and unconventional.[21] Although these works were written in Russian, they were nevertheless full of Ukrainianisms, which is why a glossary of Ukrainian words was included at the end of the volumes.[22] At this time, Gogol developed a passion for Ukrainian Cossack history and tried to obtain an appointment to the history department at Saint Vladimir Imperial University of Kiev.[23] Despite the support of Alexander Pushkin and Sergey Uvarov, the Russian minister of education, the appointment was blocked by a bureaucrat on the grounds that Gogol was unqualified.[24] His fictional story Taras Bulba, based on the history of Zaporozhian Сossacks, was the result of this phase in his interests. During this time, he also developed a close and lifelong friendship with the historian and naturalist Mykhaylo Maksymovych.[25] In 1834, Gogol was made Professor of Medieval History at the University of St. Petersburg, a job for which he had no qualifications. The academic venture proved a disaster:He turned in a performance ludicrous enough to warrant satiric treatment in one of his own stories. After an introductory lecture made up of brilliant generalizations which the 'historian' had prudently prepared and memorized, he gave up all pretence at erudition and teaching, missed two lectures out of three, and when he did appear, muttered unintelligibly through his teeth. At the final examination, he sat in utter silence with a black handkerchief wrapped around his head, simulating a toothache, while another professor interrogated the students.[26] Gogol resigned his chair in 1835. Commemorative plaque on his house in Rome Between 1832 and 1836, Gogol worked with great energy, and had extensive contact with Pushkin, but he still had not yet decided that his ambitions were to be fulfilled by success in literature. During this time, the Russian critics Stepan Shevyrev and Vissarion Belinsky, contradicting the earlier critics, reclassified Gogol from a Ukrainian to a Russian writer.[19] It was only after the premiere of his comedy The Government Inspector (Revizor) at the Alexandrinsky Theatre in St. Petersburg, on 19 April 1836,[27] that he finally came to believe in his literary vocation. The comedy, a satire of Russian provincial bureaucracy, was staged thanks only to the intervention of the emperor, Nicholas I. The Tsar was personally present at the play's premiere, concluding that "there is nothing sinister in the comedy, as it is only a cheerful mockery of bad provincial officials."[28] From 1836 to 1848, Gogol lived abroad, travelling through Germany and Switzerland. Gogol spent the winter of 1836–37 in Paris,[29] among Russian expatriates and Polish exiles, frequently meeting the Polish poets Adam Mickiewicz and Bohdan Zaleski.[30] He eventually settled in Rome. For much of the twelve years from 1836, Gogol was in Italy, where he developed an adoration for Rome. He studied art, read Italian literature and developed a passion for opera. Pushkin's death produced a strong impression on Gogol. His principal work during the years following Pushkin's death was the satirical epic Dead Souls. Concurrently, he worked at other tasks – recast Taras Bulba (1842)[31] and The Portrait, completed his second comedy, Marriage (Zhenitba), wrote the fragment Rome and his most famous short story, "The Overcoat". In 1841, the first part of Dead Souls was ready, and Gogol took it to Russia to supervise its printing. It appeared in Moscow in 1842, under a new title imposed by the censorship, The Adventures of Chichikov. The book established his reputation as one of the greatest prose writers in the language. Later life and death[edit] One of several portraits of Gogol by Fyodor Moller (1840) After the triumph of Dead Souls, Gogol's contemporaries came to regard him as a great satirist who lampooned the unseemly sides of Imperial Russia. They did not know that Dead Souls was but the first part of a planned modern-day counterpart to the Divine Comedy of Dante.[citation needed] The first part represented the Inferno; the second part would depict the gradual purification and transformation of the rogue Chichikov under the influence of virtuous publicans and governors – Purgatory.[32] In April 1848, Gogol returned to Russia from a pilgrimage to Jerusalem and passed his last years in restless movement throughout the country. While visiting the capitals, he stayed with friends such as Mikhail Pogodin and Sergey Aksakov. During this period, he also spent much time with his old Ukrainian friends, Maksymovych and Osyp Bodiansky. He intensified his relationship with a starets or spiritual elder, Matvey Konstantinovsky, whom he had known for several years. Konstantinovsky seems to have strengthened in Gogol the fear of perdition (damnation) by insisting on the sinfulness of all his imaginative work. Exaggerated ascetic practices undermined his health and he fell into a state of deep depression. On the night of 24 February 1852, he burned some of his manuscripts, which contained most of the second part of Dead Souls. He explained this as a mistake, a practical joke played on him by the Devil.[citation needed] Soon thereafter, he took to bed, refused all food, and died in great pain nine days later. Gogol was mourned in the Saint Tatiana church at the Moscow University before his burial and then buried at the Danilov Monastery, close to his fellow Slavophile Aleksey Khomyakov. His grave was marked by a large stone (Golgotha), topped by a Russian Orthodox cross.[33] Gogol's grave at the Novodevichy Cemetery, as it looked in 1952–2009 The original design of the gravesite was restored in 2009. Novodevichy Cemetery, Moscow, Russia. In 1931, with Russia now ruled by communists, Moscow authorities decided to demolish the monastery and had Gogol's remains transferred to the Novodevichy Cemetery.[34] His body was discovered lying face down, which gave rise to the conspiracy theory that Gogol had been buried alive. The authorities moved the Golgotha stone to the new gravesite, but removed the cross; in 1952, the Soviets replaced the stone with a bust of Gogol. The stone was later reused for the tomb of Gogol's admirer Mikhail Bulgakov. In 2009, in connection with the bicentennial of Gogol's birth, the bust was moved to the museum at the Novodevichy Cemetery, and the original Golgotha stone was returned, along with a copy of the original Orthodox cross.[35] The first Gogol monument in Moscow, a Symbolist statue on Arbat Square, represented the sculptor Nikolay Andreyev's idea of Gogol rather than the real man.[36] Unveiled in 1909, the statue received praise from Ilya Repin and from Leo Tolstoy as an outstanding projection of Gogol's tortured personality. Everything changed after the October Revolution. Joseph Stalin did not like the statue, and it was replaced by a more orthodox Socialist Realist monument in 1952.[37] It took enormous efforts to save Andreyev's original work from destruction; as of 2014[update] it stands in front of the house where Gogol died.[38] Style[edit] Among the illustrators of Dead Souls was Pyotr Sokolov. D. S. Mirsky characterizes Gogol's universe as "one of the most marvellous, unexpected – in the strictest sense, original[39] – worlds ever created by an artist of words".[40] A characteristic of Gogol's writing is his 'impressionist' vision of reality and people.[citation needed] He saw the outer world strangely metamorphosed, a singular gift particularly evident from the fantastic spatial transformations in his Gothic stories, "A Terrible Vengeance" and "A Bewitched Place". His pictures of nature are strange mounds of detail heaped on detail, resulting in an unconnected chaos of things: "His people are caricatures, drawn with the method of the caricaturist – which is to exaggerate salient features and to reduce them to geometrical pattern. But these cartoons have a convincingness, a truthfulness, and inevitability – attained as a rule by slight but definitive strokes of unexpected reality – that seems to beggar the visible world itself."[41] According to Andrey Bely, Gogol's work influenced the emergence of Gothic romance, and served as a forerunner for absurdism and impressionism.[42] The aspect under which the mature Gogol sees reality is expressed by the Russian word poshlost', which means something similar to "triviality, banality, inferiority", moral and spiritual, widespread in some group or society. Like Sterne before him, Gogol was a great destroyer of prohibitions and of romantic illusions. He undermined Russian Romanticism by making vulgarity reign where only the sublime and the beautiful had before.[43] "Characteristic of Gogol is a sense of boundless superfluity that is soon revealed as utter emptiness and a rich comedy that suddenly turns into metaphysical horror."[44] His stories often interweave pathos and mockery, while "The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich" begins as a merry farce and ends with the famous dictum, "It is dull in this world, gentlemen!" Politics[edit] The first Gogol memorial in Russia (an impressionistic statue by Nikolay Andreyev, 1909) A more conventional statue of Gogol at the Villa Borghese gardens, Rome Gogol burning the manuscript of the second part of Dead Souls, by Ilya Repin Postage stamp, Russia, 2009 It stunned Gogol when some critics interpreted The Government Inspector as an indictment of Tsarism despite Nicholas I's patronage of the play. Gogol himself, an adherent of the Slavophile movement, believed in a divinely inspired mission for both the House of Romanov and the Russian Orthodox Church. Like Fyodor Dostoyevsky, Gogol sharply disagreed with those Russians who preached constitutional monarchy and the disestablishment of the Orthodox Church. Gogol saw his work as a critique that would change Russia for the better.[45] After defending autocracy, serfdom, and the Orthodox Church in his book Selected Passages from Correspondence with his Friends (1847), Gogol came under attack from his former patron Vissarion Belinsky. The first Russian intellectual to publicly preach the economic theories of Karl Marx, Belinsky accused Gogol of betraying his readership by defending the status quo.[46] Influence and interpretations[edit] Even before the publication of Dead Souls, Belinsky recognized Gogol as the first Russian-language realist writer and as the head of the Natural School, to which he also assigned such younger or lesser authors as Goncharov, Turgenev, Dmitry Grigorovich, Vladimir Dahl and Vladimir Sollogub. Gogol himself appeared skeptical about the existence of such a literary movement. Although he recognized "several young writers" who "have shown a particular desire to observe real life", he upbraided the deficient composition and style of their works.[47] Nevertheless, subsequent generations of radical critics celebrated Gogol (the author in whose world a nose roams the streets of the Russian capital) as a great realist, a reputation decried by the Encyclopædia Britannica as "the triumph of Gogolesque irony".[48] The period of literary modernism saw a revival of interest in and a change of attitude towards Gogol's work. One of the pioneering works of Russian formalism was Eichenbaum's reappraisal of "The Overcoat". In the 1920s, a group of Russian short-story writers, known as the Serapion Brothers, placed Gogol among their precursors and consciously sought to imitate his techniques. The leading novelists of the period – notably Yevgeny Zamyatin and Mikhail Bulgakov – also admired Gogol and followed in his footsteps. In 1926, Vsevolod Meyerhold staged The Government Inspector as a "comedy of the absurd situation", revealing to his fascinated spectators a corrupt world of endless self-deception. In 1934, Andrei Bely published the most meticulous study of Gogol's literary techniques up to that date, in which he analyzed the colours prevalent in Gogol's work depending on the period, his impressionistic use of verbs, the expressive discontinuity of his syntax, the complicated rhythmical patterns of his sentences, and many other secrets of his craft. Based on this work, Vladimir Nabokov published a summary account of Gogol's masterpieces.[49] The house in Moscow where Gogol died. The building contains the fireplace where he burned the manuscript of the second part of Dead Souls. Gogol's impact on Russian literature has endured, yet various critics have appreciated his works differently. Belinsky, for instance, berated his horror stories as "moribund, monstrous works", while Andrei Bely counted them among his most stylistically daring creations. Nabokov especially admired Dead Souls, The Government Inspector, and "The Overcoat" as works of genius, proclaiming that "when, as in his immortal 'The Overcoat', Gogol really let himself go and pottered happily on the brink of his private abyss, he became the greatest artist that Russia has yet produced."[50] Critics traditionally interpreted "The Overcoat" as a masterpiece of "humanitarian realism", but Nabokov and some other attentive readers argued that "holes in the language" make the story susceptible to interpretation as a supernatural tale about a ghostly double of a "small man".[51] Of all Gogol's stories, "The Nose" has stubbornly defied all abstruse interpretations: D.S. Mirsky declared it "a piece of sheer play, almost sheer nonsense". In recent years, however, "The Nose" became the subject of several postmodernist and postcolonial interpretations. The portrayals of Jewish characters in his work have led to Gogol developing a reputation for antisemitism. Due to these portrayals, the Russian Zionist writer Ze'ev Jabotinsky condemned Russian Jews who participated in celebrations of Gogol's centenary. Later critics have also pointed to the apparent antisemitism in his writings, as well as in those of his contemporary, Fyodor Dostoyevsky.[52] Felix Dreizin and David Guaspari, for example, in their The Russian Soul and the Jew: Essays in Literary Ethnocentrism, discuss "the significance of the Jewish characters and the negative image of the Ukrainian Jewish community in Gogol's novel Taras Bulba, pointing out Gogol's attachment to anti-Jewish prejudices prevalent in Russian and Ukrainian culture."[53] In Léon Poliakov's The History of Antisemitism, the author mentions that "The 'Yankel' from Taras Bulba indeed became the archetypal Jew in Russian literature. Gogol painted him as supremely exploitative, cowardly, and repulsive, albeit capable of gratitude. But it seems perfectly natural in the story that he and his cohorts be drowned in the Dniper by the Cossack lords. Above all, Yankel is ridiculous, and the image of the plucked chicken that Gogol used has made the rounds of great Russian authors."[54] Despite his portrayal of Jewish characters, Gogol left a powerful impression even on Jewish writers who inherited his literary legacy. Amelia Glaser has noted the influence of Gogol's literary innovations on Sholem Aleichem, who "chose to model much of his writing, and even his appearance, on Gogol... What Sholem Aleichem was borrowing from Gogol was a rural East European landscape that may have been dangerous, but could unite readers through the power of collective memory. He also learned from Gogol to soften this danger through laughter, and he often rewrites Gogol's Jewish characters, correcting anti-Semitic stereotypes and narrating history from a Jewish perspective."[55] In music and film[edit] Gogol's oeuvre has also had an impact on Russia's non-literary culture, and his stories have been adapted numerous times into opera and film. The Russian composer Alfred Schnittke wrote the eight-part Gogol Suite as incidental music to The Government Inspector performed as a play, and Dmitri Shostakovich set The Nose as his first opera in 1928 – a peculiar choice of subject for what was meant to initiate the great tradition of Soviet opera.[56] More recently, to celebrate the 200th anniversary of Gogol's birth in 1809, Vienna's renowned Theater an der Wien commissioned music and libretto for a full-length opera on the life of Gogol from Russian composer and writer Lera Auerbach.[57] More than 135 films[58] have been based on Gogol's work, the most recent being The Girl in the White Coat (2011). Legacy[edit] Gogol has been featured many times on Russian and Soviet postage stamps; he is also well represented on stamps worldwide.[59][60][61][62] Several commemorative coins have been issued in the USSR and Russia. In 2009, the National Bank of Ukraine issued a commemorative coin dedicated to Gogol.[63] Streets have been named after Gogol in various cities, including Moscow, Sofia, Lipetsk, Odesa, Myrhorod, Krasnodar, Vladimir, Vladivostok, Penza, Petrozavodsk, Riga, Bratislava, Belgrade, Harbin and many other towns and cities. Gogol is mentioned several times in Fyodor Dostoyevsky's Poor Folk and Crime and Punishment and Chekhov's The Seagull. Ryūnosuke Akutagawa considered Gogol along with Edgar Allan Poe his favorite writers. Adaptations[edit] BBC Radio 4 made a series of six Gogol short stories, entitled Three Ivans, Two Aunts and an Overcoat (2002, adaptations by Jim Poyser) starring Griff Rhys-Jones and Stephen Moore. The stories adapted were "The Two Ivans", "The Overcoat", "Ivan Fyodorovich Shponka and His Aunt", "The Nose", "The Mysterious Portrait" and "Diary of a Madman". Gogol's short story "Christmas Eve" (literally the Russian title «Ночь перед Рождеством» translates as "The Night before Christmas") was adapted into operatic form by at least three East Slavic composers. Ukrainian composer Mykola Lysenko wrote his Christmas Eve («Різдвяна ніч», with libretto in Ukrainian by Mykhailo Starytsky) in 1872. Just two years later, in 1874, Tchaikovsky composed his version under the title Vakula the Smith (with Russian libretto by Yakov Polonsky) and revised it in 1885 as Cherevichki (The Tsarina's Slippers). In 1894 (i.e., just after Tchaikovsky's death), Rimsky-Korsakov wrote the libretto and music for his own opera based on the same story. "Christmas Eve" was also adapted into a film in 1961 entitled The Night Before Christmas. It was adapted also for radio by Adam Beeson and broadcast on BBC Radio 4 on 24 December 2008[64] and subsequently rebroadcast on both Radio 4 and Radio 4 Extra on Christmas Eve 2010, 2011 and 2015.[65] Gogol's story "Viy" was adapted into film by Russian filmmakers four times: the original Viy in 1967; the horror film Vedma (aka The Power of Fear) in 2006; the action-horror film Viy in 2014; and the horror film Gogol Viy released in 2018. It was also adapted into the Russian FMV video game Viy: The Story Retold (2004). Outside of Russia, the film loosely served as the inspiration for Mario Bava's film Black Sunday (1960) and the South Korean horror film Evil Spirit: Viy (2008). In 2016, Gogol's short story "The Portrait" was announced to be adapted into a feature film of the same name, by Anastasia Elena Baranoff and Elena Vladimir Baranoff.[66][67][68][69][70][71] The Russian TV-3 television series Gogol features Nikolai Gogol as a lead character and presents a fictionalized version of his life that mixes his history with elements from his various stories.[72] The episodes were also released theatrically starting with Gogol. The Beginning in August 2017. A sequel entitled Gogol: Viy was released in April 2018 and the third film Gogol: Terrible Revenge debuted in August 2018. In 1963, an animated version of Gogol's classic surrealist story "The Nose" was made by Alexandre Alexeieff and Claire Parker, using the pinscreen animation technique, for the National Film Board of Canada.[73] A definitive animated movie adaptation of Gogol's The Nose released in January 2020. The Nose or Conspiracy of Mavericks has been in production for about fifty years.[74] Bibliography[edit] Main article: Nikolai Gogol bibliography Notes[edit] ^ a b Some sources indicate he was born 19/31 March 1809. ^ /ˈɡoʊɡəl, ˈɡoʊɡɔːl/;[1] Russian: Николай Васильевич Гоголь, IPA: [nʲɪkɐˈlaj vɐˈsʲilʲjɪvʲɪdʑ ˈɡoɡəlʲ]; Ukrainian: Микола Васильович Гоголь, romanized: Mykola Vasyliovych Hohol; né Yanovsky (Russian: Яновский; Ukrainian: Яновський, romanized: Yanovskyi Citations[edit] ^ "Gogol". Random House Webster's Unabridged Dictionary. ^ Bojanowska, Edyta M. (2007). "Introduction". Nikolai Gogol: Between Ukrainian and Russian Nationalism. Cambridge, MA: Harvard University Press. pp. 1–13. ISBN 9780674022911. ^ Lavrin, Janko (27 March 2021). "Nikolay Gogol: Ukrainian-born writer". Encyclopedia Britannica. Retrieved 31 August 2019. Ukrainian-born humorist, dramatist, and novelist whose works, written in Russian, significantly influenced the direction of Russian literature. His novel Myortvye dushi (1842; Dead Souls) and his short story "Shinel" (1842; "The Overcoat") are considered the foundations of the great 19th-century tradition of Russian realism . . . member of the petty Ukrainian gentry and a subject of the Russian Empire ^ Fanger, Donald (30 June 2009). The Creation of Nikolai Gogol. Harvard University Press. pp. 87–88. ISBN 9780674036697. pp. 87–88: Romantic theory exalted ethnography and folk poetry as expressions of the Volksgeist, and the Ukraine was particularly appealing to a Russian audience in this respect, being, as Gippius observes, a country both '"ours" and "not ours," neighboring, related, and yet lending itself to presentation in the light of a semi-realistic romanticism, a sort of Slavic Ausonia.' Gogol capitalized on this appeal as a mediator; by embracing his Ukrainian heritage, he became a Russian writer. ^ Vaag, Irina (9 April 2009). "Gogol: russe et ukrainien en même temps" [Gogol: Russian and Ukrainian at the same time]. L'Express (Interview with Vladimir Voropaev) (in French). Retrieved 2 April 2021. Il ne faut pas diviser Gogol. Il appartient en même temps à deux cultures, russe et ukrainienne...Gogol se percevait lui-même comme russe, mêlé à la grande culture russe...En outre, à son époque, les mots "Ukraine" et "ukrainien" avaient un sens administratif et territorial, mais pas national. Le terme "ukrainien" n'était presque pas employé. Au XIXe siècle, l'empire de Russie réunissait la Russie, la Malorossia (la petite Russie) et la Biélorussie. Toute la population de ses régions se nommait et se percevait comme russe. [We must not divide Gogol. He belongs at the same time to two cultures, Russian and Ukrainian...Gogol perceived himself as Russian, mingled with the great Russian culture...Furthermore, in his era, the words "Ukraine" and "Ukrainian" had an administrative and territorial meaning, but not national. The term "Ukrainian" was almost never used. In the nineteenth century, the Russian Empire comprised Russia, Malorossia (Little Russia) and Byelorussia. The whole population of these regions called themselves, and perceived themselves as, Russian.] ^ Gippius, V. V. (1989). Robert A. Maguire (ed.). Gogol. Translated by Robert A. Maguire. Duke University Press. p. 7. ISBN 9780822309079. p. 7: Gogol is the one great Russian writer who has most puzzled English-speaking readers. ^ Joe Andrew (1995). Writers and society during the rise of Russian realism. The Macmillan Press LTD. pp. 13, 76. ISBN 9781349044214. p. 76: He was to remain the least educated of all great Russian writers. ^ Fanger, Donald (2009). The Creation of Nikolai Gogol. Harvard University Press. p. 24. ISBN 978-0-674-03669-7. Retrieved 25 August 2016. p. 24: Gogol left Russian literature on the brink of that golden age of fiction which many deemed him to have originated, and to which he did, very clearly, open the way. The literary situation he entered, however, was very different, and one cannot understand the shape and sense of Gogol's career—the peripeties of his lifelong devotion to being a Russian writer, the singularity and depth of his achievement—without knowing something of that situation. ^ Amy C. Singleton (1997). Noplace Like Home: The Literary Artist and Russia's Search for Cultural Identity. SUNY Press. p. 65. ISBN 978-0-7914-3399-7. p. 65: In 1847 Gogol wrote that Russian literature would call forth a truly 'Russian Russia.' The clarity of this image would unite the country 'in one voice' to proclaim its long-awaited homecoming. '[Our literature] will call forth our Russia for us—our Russian Russia[...] It will elicit [Russia] from us and thus show that all of us to a man, no matter that we be of different minds, upbringing, and opinions, will say in one voice "This is our Russia; we are comfortable [priiutno] and warm here, and now we are truly at home [u sebia doma], under our native roof, and not in a foreign land."' ^ Postoutenko, Kirill (Summer 2000). "Gogol's eloquentia corporis: Einverleibung, Identitaet und die Grenzen der Figuration by Natasha Drubek-Meyer". The Slavic and East European Journal. 44 (2): 319–320. doi:10.2307/309969. JSTOR 309969. Retrieved 5 October 2022. p. 319: Natasha Drubek-Meyer applies this reconstructive approach (mostly in its psychological version) to a widely known yet barely explained phenomenon of Russian culture -- the retreat of the main Russian writers (Gogol, Tolstoy, Dostoevsky) from literature. ^ Viktor Shklovsky. String: On the dissimilarity of the similar. Moscow: Sovetsky Pisatel, 1970. – p. 230. ^ Ilnytzkyj, Oleh. "The Nationalism of Nikolai Gogol': Betwixt and Between?", Canadian Slavonic Papers Sep–Dec 2007. Retrieved 15 June 2008. ^ Karpuk, Paul A. "Gogol's Research on Ukrainian Customs for the Dikan'ka Tales". Russian Review, Vol. 56, No. 2 (April 1997), pp. 209–232. ^ "Очень нервный вечер. Как Николай I и Гоголь постановку «Ревизора» смотрели" (in Russian). Argumenty i Fakty. 1 May 2016. ^ "Natural School (Натуральная школа)". Brief Literary Encyclopedia in 9 Volumes. Moscow. 1968. Retrieved 1 December 2013. ^ Nikolai Gogol // Concise Literary Encyclopedia in 9 volumes. ^ "Nikolay Gogol". Encyclopædia Britannica. Retrieved 31 December 2010. ^ a b c d e f g h Bojanowska 2012, p. 160. ^ a b c Bojanowska, Edyta M. (2007). Nikolai Gogol: Between Ukrainian and Russian Nationalism. Cambridge, MA: Harvard University Press. pp. 78–88. ISBN 9780674022911. ^ Krys Svitlana, “Allusions to Hoffmann in Gogol’s Ukrainian Horror Stories from the Dikan'ka Collection.” Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogol'’s birth (1809–1852) 51.2–3 (June–September 2009): 243–266. ^ Richard Peace (30 April 2009). The Enigma of Gogol: An Examination of the Writings of N.V. Gogol and Their Place in the Russian Literary Tradition. Cambridge University Press. pp. 151–152. ISBN 978-0-521-11023-5. Retrieved 15 April 2012. ^ Bojanowska 2012, p. 160-161. ^ Bojanowska 2012, p. 161. ^ Luckyj, G. (1998). The Anguish of Mykola Ghoghol, a.k.a. Nikolai Gogol. Toronto: Canadian Scholars' Press. p. 67. ISBN 1-55130-107-5. ^ "Welcome to Ukraine". Wumag.kiev.ua. Retrieved 22 July 2013. ^ Lindstrom, T. (1966). A Concise History of Russian Literature Volume I from the Beginnings to Checkhov. New York: New York University Press. p. 131. LCCN 66-22218. ^ "The Government Inspector" (PDF). American Conservative Theater. 2008. Archived from the original (PDF) on 24 September 2020. Retrieved 31 August 2016. ^ "Очень нервный вечер. Как Николай I и Гоголь постановку «Ревизора» смотрели" (in Russian). Argumenty i Fakty. 1 May 2016. ^ RBTH (24 June 2013). "Le nom de Nikolaï Gogol est immortalisé à la place de la Bourse à Paris" (in French). Retrieved 30 August 2016. ^ Bojanowska 2012, p. 165. ^ Ilnytzkyj, Oleh S. (2010–2011). "Is Gogol's 1842 Version of Taras Bul'ba really 'Russified'?". Journal of Ukrainian Studies. 35–36: 51–68. ^ Gogol declared that "the subject of Dead Souls has nothing to do with the description of Russian provincial life or of a few revolting landowners. It is for the time being a secret which must suddenly and to the amazement of everyone (for as yet none of my readers has guessed it) be revealed in the following volumes..." ^ Могиле Гоголя вернули первозданный вид: на нее поставили "Голгофу" с могилы Булгакова и восстановили крест.(in Russian) ^ "Novodevichy Cemetery". Passport Magazine. April 2008. Retrieved 12 September 2013. ^ Могиле Гоголя вернули первозданный вид: на нее поставили "Голгофу" с могилы Булгакова и восстановили крест.(in Russian) Retrieved 23 September 2013 ^ Российское образование. Федеральный образовательный портал: учреждения, программы, стандарты, ВУЗы, тесты ЕГЭ. Archived 4 September 2011 at the Wayback Machine (in Russian) ^ "Зачем Сталин убрал памятник Гоголю в Москве" (in Russian). rg.ru. 1 June 2017. ^ For a full story and illustrations, see Российское образование. Федеральный образовательный портал: учреждения, программы, стандарты, ВУЗы, тесты ЕГЭ. Archived 17 October 2007 at the Wayback Machine (in Russian) and Москва и москвичи Archived 13 December 2018 at the Wayback Machine (in Russian) ^ This does not mean that numerous influences cannot be discerned in his work. The principle of these are: the tradition of the Ukrainian folk and puppet theatre, with which the plays of Gogol's father were closely linked; the heroic poetry of the Cossack ballads (dumy), the Iliad in the Russian version by Gnedich; the numerous and mixed traditions of comic writing from Molière to the vaudevillians of the 1820s; the picaresque novel from Lesage to Narezhny; Sterne, chiefly through the medium of German romanticism; the German romanticists themselves (especially Tieck and E.T.A. Hoffmann); the French tradition of Gothic romance – a long and yet incomplete list.[citation needed] ^ D.S. Mirsky. A History of Russian Literature. Northwestern University Press, 1999. ISBN 0-8101-1679-0. p. 155. ^ Mirsky, p. 191 ^ Andrey Bely (1934). The Mastery Of Gogol (in Russian). Leningrad: Ogiz. ^ According to some critics[which?], Gogol's grotesque is a "means of estranging, a comic hyperbole that unmasks the banality and inhumanity of ambient reality". See: Fusso, Susanne. Essays on Gogol: Logos and the Russian Word. Northwestern University Press, 1994. ISBN 0-8101-1191-8. p. 55. ^ "Russian literature." Encyclopædia Britannica, 2005. ^ "Очень нервный вечер. Как Николай I и Гоголь постановку «Ревизора» смотрели" (in Russian). Argumenty i Fakty. 1 May 2016. ^ "Letter to N.V. Gogol". marxists.org. February 2008. Retrieved 12 December 2017. ^ "The structure of the stories themselves seemed especially unskilful and clumsy to me; in one story I noted excess and verbosity, and an absence of simplicity in the style". Quoted by Vasily Gippius in his monograph Gogol (Duke University Press, 1989, p. 166). ^ The latest edition[which?] of the Britannica labels Gogol "one of the finest comic authors of world literature and perhaps its most accomplished nonsense writer." See under "Russian literature."[citation needed] ^ Nabokov, Vladimir (2017) [1961]. Nikolai Gogol. New York: New Directions. p. 140. ISBN 0-8112-0120-1 ^ Nabokov, Vladimir (2017) [1961]. Nikolai Gogol. New York: New Directions. p. 140. ISBN 978-0-8112-0120-9. ^ Dostoevsky appears to have had such a reading of the story in mind when he wrote The Double. The quote, often apocryphally attributed to Dostoevsky, that "we all [future generations of Russian novelists] emerged from Gogol's Overcoat", actually refers to those few who read "The Overcoat" as a ghost story (as did Aleksey Remizov, judging by his story The Sacrifice). ^ Vladim Joseph Rossman, Vadim Rossman, Vidal Sassoon. Russian Intellectual Antisemitism in the Post-Communist Era. p. 64. University of Nebraska Press. Google.com ^ "Antisemitism in Literature and in the Arts". Sicsa.huji.ac.il. Archived from the original on 26 September 2013. Retrieved 22 July 2013. ^ Léon Poliakov. The History of Antisemitism. p. 75. University of Pennsylvania Press, Google.com ^ Amelia Glaser. "Sholem Aleichem, Gogol Show Two Views of Shtetl Jews." The Jewish Journal, 2009. Journal: Jewish News, Events, Los Angeles ^ Gogol Suite, CD Universe ^ "Zwei Kompositionsaufträge vergeben" [Two Compositions Commissioned]. wien.orf.at (in German). Archived from the original on 25 July 2011.{{cite web}}: CS1 maint: unfit URL (link) Alt URL ^ "Nikolai Gogol". IMDb. ^ "ru:200 лет со дня рождения Н.В.Гоголя (1809–1852), писателя" [200 years since the birth of Nikolai Gogol (1809–1852), writer] (in Russian). marka-art.ru. 1 April 2009. Archived from the original on 22 March 2009. Retrieved 3 April 2009. ^ К 200-летию со дня рождения Н.В. Гоголя выпущены почтовые блоки [Stamps issued for the 200th anniversary of N.V. Gogol's birthday]. kraspost.ru (in Russian). 2009. Archived from the original on 17 March 2012. Retrieved 3 April 2009. ^ Зчіпка 200-річчя від дня народження Миколи Гоголя (1809–1852) [Coupling for the 200th anniversary of the birth of Mykola Hohol (1809–1852)]. Марки (in Ukrainian). Ukrposhta. Retrieved 3 April 2009.[dead link] ^ Украина готовится достойно отметить 200-летие Николая Гоголя [Ukraine is preparing to celebrate the 200th anniversary of Nikolai Gogol's birth] (in Russian). otpusk.com. 28 August 2006. Archived from the original on 19 August 2014. Retrieved 24 August 2016. ^ Events by themes: NBU presented an anniversary coin «Nikolay Gogol» from series "Personages of Ukraine", UNIAN-photo service (19 March 2009) ^ "Christmas Eve". BBC Radio 4. 24 December 2008. Archived from the original on 10 January 2009.{{cite web}}: CS1 maint: unfit URL (link) ^ Gogol, Nikolai (24 December 2015). "Nikolai Gogol – Christmas Eve". BBC Radio 4 Extra. Retrieved 24 August 2016. ^ "Patrick Cassavetti boards Lenin?!". ^ "Gogol's short story The Portrait to be made into feature film". russianartandculture.com. 4 July 2014. Archived from the original on 10 April 2016. Retrieved 24 August 2016. ^ Screen International [1], Berlin Film Festival, 12 February 2016. ^ Russian Art and Culture “Gogol’s “The Portrait” adapted for the screen by an international team of talents” Archived 1 July 2016 at the Wayback Machine, London, 29 January 2016. ^ Kinodata.Pro [2] Archived 3 May 2019 at the Wayback Machine Russia, 12 February 2016. ^ Britshow.com [3] Archived 29 August 2018 at the Wayback Machine 16 February 2016. ^ "Сериал о Гоголе собрал за первые выходные в четыре раза больше своего бюджета". Vedomosti. ^ Nowell-Smith, Geoffrey, ed. (1996). The Oxford History of World Cinema. Oxford University Press. p. 274. ISBN 978-0-19-874242-5. Retrieved 13 November 2021. ^ "Если бы речь шла только об отрицании, пароход современности далеко бы не уплыл". Коммерсантъ. Retrieved 28 November 2020. References[edit] Townsend, Dorian Aleksandra, From Upyr' to Vampire: The Slavic Vampire Myth in Russian Literature, Ph.D. Dissertation, School of German and Russian Studies, Faculty of Arts & Social Sciences, University of New South Wales, May 2011.  This article incorporates text from D.S. Mirsky's "A History of Russian Literature" (1926-27), a publication now in the public domain. Further reading[edit] Bojanowska, Edyta (2012). "Nikolai Vasilievich Gogol (1809–1852)". In Norris, Stephen M.; Sunderland, Willard (eds.). Russia's People of Empire: Life stories from Eurasia, 1500 to the present. Indiana University Press. ISBN 978-0-253-00176-4. Poliukhovych, Olha (20 February 2023). "Stolen identity: how Nikolai Gogol usurped Mykola Hohol". Prospect. Retrieved 2 March 2023. External links[edit] Wikiquote has quotations related to Nikolai Gogol. Wikisource has original works by or about:Nikolai Gogol Media related to Nikolai Gogol at Wikimedia Commons Works by Nikolai Gogol in eBook form at Standard Ebooks Works by Nikolai Gogol at Project Gutenberg Works by Nikolai Gogol at LibriVox (public domain audiobooks) Nikolai Gogol at IMDb Gogol : Magical realism Petri Liukkonen. "Nikolai Gogol". Books and Writers. Nikolay Gogol in Encyclopædia Britannica Мертвыя души [Dead Souls] From the Collections at the Library of Congress A quiz on Gogol at Goodreads Gogol House at Google Cultural Institute vteWorks by Nikolai Gogol Bibliography Novels Dead Souls Taras Bulba Plays The Government Inspector Marriage The Gamblers The Order of Vladimir, Third Class Short storycollections Evenings on a Farm Near Dikanka Mirgorod Arabesques Short stories Preface to Evenings on a Farm Near Dikanka "The Fair at Sorochyntsi" "St. John's Eve" "May Night, or the Drowned Maiden" "The Lost Letter: A Tale Told by the Sexton of the N...Church" "Christmas Eve" "A Terrible Vengeance" "Ivan Fyodorovich Shponka and His Aunt" "A Bewitched Place" "The Old World Landowners" "Viy" "The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich" "The Portrait" "Nevsky Prospekt" "Diary of a Madman" "The Nose" "The Carriage" "The Overcoat" Associated subjects vteNikolai Gogol's Taras Bulba (1835)Films Taras Bulba (1924) Taras Bulba (1936) The Rebel Son (1938) Taras Bulba (1962) Taras Bulba, the Cossack (1962) Taras Bulba (2009 Russian) Veer (2011 Hindi) Other Taras Bulba (opera) Taras Bulba (rhapsody) vteNikolai Gogol's ViyFilms Viy (1909) Black Sunday (1960) Viy (1967) Viy (2014) Sequels Viy 2: Journey to China (2019) Viy 3: Travel to India (2024) Television Gogol. The Beginning (2017) Gogol. Viy (2018) Gogol. Terrible Revenge (2018) Animation Viy (1996) vteNikolai Gogol's "Christmas Eve" (1832)Films The Night Before Christmas (1913) The Night Before Christmas (1951) The Night Before Christmas (1961) Opera Vakula the Smith (1876 Tchaikovsky) Cherevichki (1887 Tchaikovsky) Christmas Eve (Rimsky-Korsakov) vteNikolai Gogol's "The Overcoat" (1842)Films The Overcoat (1926 silent Russian) The Overcoat (1952 Italian) The Bespoke Overcoat (1955) The Overcoat (1959 Russian) The Girl in the White Coat (2011) The Overcoat (Russian) Television"Nayi Sherwani" vteNikolai Gogol's The Government InspectorFilms A City Upside Down (Germany, 1933) The Inspector General (Czechoslovakia, 1933) Antek policmajster (Poland, 1935) The Inspector General (USA, 1949) Afsar (India, 1950) The Inspector-General (Soviet Union, 1952) Tamu Agung (Indonesia, 1955) President Panchaksharam (India, 1959) Roaring Years (Italy, 1962) Calzonzin Inspector (Mexico, 1974) Reviisori (Finland, 1975) Incognito from St. Petersburg (Soviet Union, 1977) De Boezemvriend (Netherlands, 1982) Inspector (Russian Federation, 1996) Other Chlestakows Wiederkehr (opera) Inspecting Carol (play) Der Revisor (opera) Authority control databases International FAST ISNI VIAF WorldCat National Norway Chile Spain France BnF data Argentina Catalonia Germany Italy Israel Finland Belgium United States Sweden Latvia Japan Czech Republic Australia Greece Korea Croatia Netherlands Poland Portugal Russia Vatican Academics CiNii Artists MusicBrainz 2 Te Papa (New Zealand) ULAN People Deutsche Biographie Trove Other Historical Dictionary of Switzerland Internet Encyclopedia of Ukraine RISM SNAC IdRef

THE NOSE

"L0058564 Ivory artificial nose, Europe, 1701-1800" by Wellcome Images is licensed under CC by 2.0.

On the 25th March, 18- , a very strange occurrence took place in St. Petersburg. On the Ascension Avenue there lived a barber of the name of Ivan Jakovlevitch. He had lost his family name, and on his sign-board, on which was depicted the head of a gentleman with one cheek soaped, the only inscription to be read was, "Blood-letting done here."

On this particular morning he awoke pretty early. Becoming aware of the smell of fresh-baked bread, he sat up a little in bed, and saw his wife, who had a special partiality for coffee, in the act of taking some fresh-baked bread out of the oven.

"To-day, Prasskovna Ossipovna," he said, "I do not want any coffee; I should like a fresh loaf with onions."

"The blockhead may eat bread only as far as I am concerned," said his wife to herself; "then I shall have a chance of getting some coffee." And she threw a loaf on the table.

For the sake of propriety, Ivan Jakovlevitch drew a coat over his shirt, sat down at the table, shook out some salt for himself, prepared two onions, assumed a serious expression, and began to cut the bread. After he had cut the loaf in two halves, he looked, and to his great astonishment saw something whitish sticking in it. He carefully poked round it with his knife, and felt it with his finger.

"Quite firmly fixed!" he murmured in his beard. "What can it be?"

He put in his finger, and drew out - a nose!

Ivan Jakovlevitch at first let his hands fall from sheer astonishment; then he rubbed his eyes and began to feel it. A nose, an actual nose; and, moreover, it seemed to be the nose of an acquaintance! Alarm and terror were depicted in Ivan's face; but these feelings were slight in comparison with the disgust which took possession of his wife.

"Whose nose have you cut off, you monster?" she screamed, her face red with anger. "You scoundrel! You tippler! I myself will report you to the police! Such a rascal! Many customers have told me that while you were shaving them, you held them so tight by the nose that they could hardly sit still."

But Ivan Jakovlevitch was more dead than alive; he saw at once that this nose could belong to no other than to Kovaloff, a member of the Municipal Committee whom he shaved every Sunday and Wednesday.

"Stop, Prasskovna Ossipovna! I will wrap it in a piece of cloth and place it in the corner. There it may remain for the present; later on I will take it away."

"No, not there! Shall I endure an amputated nose in my room? You understand nothing except how to strop a razor. You know nothing of the duties and obligations of a respectable man. You vagabond! You good-for-nothing! Am I to undertake all responsibility for you at the police-office? Ah, you soap-smearer! You blockhead! Take it away where you like, but don't let it stay under my eyes!"

Ivan Jakovlevitch stood there flabbergasted. He thought and thought, and knew not what he thought.

"The devil knows how that happened!" he said at last, scratching his head behind his ear. "Whether I came home drunk last night or not, I really don't know; but in all probability this is a quite extraordinary occurrence, for a loaf is something baked and a nose is something different. I don't understand the matter at all." And Ivan Jakovlevitch was silent. The thought that the police might find him in unlawful possession of a nose and arrest him, robbed him of all presence of mind. Already he began to have visions of a red collar with silver braid and of a sword - and he trembled all over.

At last he finished dressing himself, and to the accompaniment of the emphatic exhortations of his spouse, he wrapped up the nose in a cloth and issued into the street.

He intended to lose it somewhere - either at somebody's door, or in a public square, or in a narrow alley; but just then, in order to complete his bad luck, he was met by an acquaintance, who showered inquiries upon him. "Hullo, Ivan Jakovlevitch! Whom are you going to shave so early in the morning?" etc., so that he could find no suitable opportunity to do what he wanted. Later on he did let the nose drop, but a sentry bore down upon him with his halberd, and said, "Look out! You have let something drop!" and Ivan Jakovlevitch was obliged to pick it up and put it in his pocket.

A feeling of despair began to take possession of him; all the more as the streets became more thronged and the merchants began to open their shops. At last he resolved to go to the Isaac Bridge, where perhaps he might succeed in throwing it into the Neva.

But my conscience is a little uneasy that I have not yet given any detailed information about Ivan Jakovlevitch, an estimable man in many ways.

Like every honest Russian tradesman, Ivan Jakovlevitch was a terrible drunkard, and although he shaved other people's faces every day, his own was always unshaved. His coat (he never wore an overcoat) was quite mottled, i.e. it had been black, but become brownish-yellow; the collar was quite shiny, and instead of the three buttons, only the threads by which they had been fastened were to be seen.

Ivan Jakovlevitch was a great cynic, and when Kovaloff, the member of the Municipal Committee, said to him, as was his custom while being shaved, "Your hands always smell, Ivan Jakovlevitch!" the latter answered, "What do they smell of?" "I don't know, my friend, but they smell very strong." Ivan Jakovlevitch after taking a pinch of snuff would then, by way of reprisals, set to work to soap him on the cheek, the upper lip, behind the ears, on the chin, and everywhere.

This worthy man now stood on the Isaac Bridge. At first he looked round him, then he leant on the railings of the bridge, as though he wished to look down and see how many fish were swimming past, and secretly threw the nose, wrapped in a little piece of cloth, into the water. He felt as though a ton weight had been lifted off him, and laughed cheerfully. Instead, however, of going to shave any officials, he turned his steps to a building, the sign-board of which bore the legend "Teas served here," in order to have a glass of punch, when suddenly he perceived at the other end of the bridge a police inspector of imposing exterior, with long whiskers, three-cornered hat, and sword hanging at his side. He nearly fainted; but the police inspector beckoned to him with his hand and said, "Come here, my dear sir."

Ivan Jakovlevitch, knowing how a gentleman should behave, took his hat off quickly, went towards the police inspector and said, "I hope you are in the best of health."

"Never mind my health. Tell me, my friend, why you were standing on the bridge."

"By heaven, gracious sir, I was on the way to my customers, and only looked down to see if the river was flowing quickly."

That is a lie! You won't get out of it like that. Confess the truth."

"I am willing to shave Your Grace two or even three times a week gratis," answered Ivan Jakovlevitch.

"No, my friend, don't put yourself out! Three barbers are busy with me already, and reckon it a high honour that I let them show me their skill. Now then, out with it! What were you doing there?"

Ivan Jakovlevitch grew pale. But here the strange episode vanishes in mist, and what further happened is not known.

II

Kovaloff, the member of the Municipal Committee, awoke fairly early that morning, and made a droning noise - "Brr! Brr!" - through his lips, as he always did, though he could not say why. He stretched himself, and told his valet to give him a little mirror which was on the table. He wished to look at the heat-boil which had appeared on his nose the previous evening; but to his great astonishment, he saw that instead of his nose he had a perfectly smooth vacancy in his face. Thoroughly alarmed, he ordered some water to be brought, and rubbed his eyes with a towel. Sure enough, he had no longer a nose! Then he sprang out of bed, and shook himself violently! No, no nose any more! He dressed himself and went at once to the police superintendent.

But before proceeding further, we must certainly give the reader some information about Kovaloff, so that he may know what sort of a man this member of the Municipal Committee really was. These committee-men, who obtain that title by means of certificates of learning, must not be compared with the committee-men appointed for the Caucasus district, who are of quite a different kind. The learned committee-man - but Russia is such a wonderful country that when one committee-man is spoken of all the others from Riga to Kamschatka refer it to themselves. The same is also true of all other titled officials. Kovaloff had been a Caucasian committee-man two years previously, and could not forget that he had occupied that position; but in order to enhance his own importance, he never called himself "committee-man" but "Major."

"Listen, my dear," he used to say when he met an old woman in the street who sold shirt-fronts; "go to my house in Sadovaia Street and ask 'Does Major Kovaloff live here?' Any child can tell you where it is."

Accordingly we will call him for the future Major Kovaloff. It was his custom to take a daily walk on the Neffsky Avenue. The collar of his shirt was always remarkably clean and stiff. He wore the same style of whiskers as those that are worn by governors of districts, architects, and regimental doctors; in short, all those who have full red cheeks and play a good game of whist. These whiskers grow straight across the cheek towards the nose.

Major Kovaloff wore a number of seals, on some of which were engraved armorial bearings, and others the names of the days of the week. He had come to St. Petersburg with the view of obtaining some position corresponding to his rank, if possible that of vice-governor of a province; but he was prepared to be content with that of a bailiff in some department or other. He was, moreover, not disinclined to marry, but only such a lady who could bring with her a dowry of two hundred thousand roubles. Accordingly, the reader can judge for himself what his sensations were when he found in his face, instead of a fairly symmetrical nose, a broad, flat vacancy.

To increase his misfortune, not a single droshky was to be seen in the street, and so he was obliged to proceed on foot. He wrapped himself up in his cloak, and held his handkerchief to his face as though his nose bled. "But perhaps it is all only my imagination; it is impossible that a nose should drop off in such a silly way," he thought, and stepped into a confectioner's shop in order to look into the mirror.

Fortunately no customer was in the shop; only small shop-boys were cleaning it out, and putting chairs and tables straight. Others with sleepy faces were carrying fresh cakes on trays, and yesterday's newspapers stained with coffee were still lying about. "Thank God no one is here!" he said to himself. "Now I can look at myself leisurely."

He stepped gingerly up to a mirror and looked.

"What an infernal face!" he exclaimed, and spat with disgust. "If there were only something there instead of the nose, but there is absolutely nothing."

He bit his lips with vexation, left the confectioner's, and resolved, quite contrary to his habit, neither to look nor smile at anyone on the street. Suddenly he halted as if rooted to the spot before a door, where something extraordinary happened. A carriage drew up at the entrance; the carriage door was opened, and a gentleman in uniform came out and hurried up the steps. How great was Kovaloff's terror and astonishment when he saw that it was his own nose!

At this extraordinary sight, everything seemed to turn round with him. He felt as though he could hardly keep upright on his legs; but, though trembling all over as though with fever, he resolved to wait till the nose should return to the carriage. After about two minutes the nose actually came out again. It wore a gold-embroidered uniform with a stiff, high collar, trousers of chamois leather, and a sword hung at its side. The hat, adorned with a plume, showed that it held the rank of a state-councillor. It was obvious that it was paying "duty-calls." It looked round on both sides, called to the coachman "Drive on," and got into the carriage, which drove away.

Poor Kovaloff nearly lost his reason. He did not know what to think of this extraordinary procedure. And indeed how was it possible that the nose, which only yesterday he had on his face, and which could neither walk nor drive, should wear a uniform. He ran after the carriage, which fortunately had stopped a short way off before the Grand Bazar of Moscow. He hurried towards it and pressed through a crowd of beggar-women with their faces bound up, leaving only two openings for the eyes, over whom he had formerly so often made merry.

There were only a few people in front of the Bazar. Kovaloff was so agitated that he could decide on nothing, and looked for the nose everywhere. At last he saw it standing before a shop. It seemed half buried in its stiff collar, and was attentively inspecting the wares displayed.

"How can I get at it?" thought Kovaloff. "Everything - the uniform, the hat, and so on - show that it is a state-councillor. How the deuce has that happened?"

He began to cough discreetly near it, but the nose paid him not the least attention.

"Honourable sir," said Kovaloff at last, plucking up courage, "honourable sir."

"What do you want?" asked the nose, and turned round.

"It seems to me strange, most respected sir - you should know where you belong - and I find you all of a sudden - where? Judge yourself."

"Pardon me, I do not understand what you are talking about. Explain yourself more distinctly."

"How shall I make my meaning plainer to him?" Then plucking up fresh courage, he continued, "Naturally - besides I am a Major. You must admit it is not befitting that I should go about without a nose. An old apple-woman on the Ascension Bridge may carry on her business without one, but since I am on the look out for a post; besides in many houses I am acquainted with ladies of high position - Madame Tchektyriev, wife of a state-councillor, and many others. So you see - I do not know, honourable sir, what you - " (here the Major shrugged his shoulders). "Pardon me; if one regards the matter from the point of view of duty and honour - you will yourself understand - "

"I understand nothing," answered the nose. "I repeat, please explain yourself more distinctly."

"Honourable sir," said Kovaloff with dignity, "I do not know how I am to understand your words. It seems to me the matter is as clear as possible. Or do you wish - but you are after all my own nose!"

The nose looked at the Major and wrinkled its forehead. "There you are wrong, respected sir; I am myself. Besides, there can be no close relations between us. To judge by the buttons of your uniform, you must be in quite a different department to mine." So saying, the nose turned away.

Kovaloff was completely puzzled; he did not know what to do, and still less what to think. At this moment he heard the pleasant rustling of a lady's dress, and there approached an elderly lady wearing a quantity of lace, and by her side her graceful daughter in a white dress which set off her slender figure to advantage, and wearing a light straw hat. Behind the ladies marched a tall lackey with long whiskers.

Kovaloff advanced a few steps, adjusted his cambric collar, arranged his seals which hung by a little gold chain, and with smiling face fixed his eyes on the graceful lady, who bowed lightly like a spring flower, and raised to her brow her little white hand with transparent fingers. He smiled still more when he spied under the brim of her hat her little round chin, and part of her cheek faintly tinted with rose-colour. But suddenly he sprang back as though he had been scorched. He remembered that he had nothing but an absolute blank in place of a nose, and tears started to his eyes. He turned round in order to tell the gentleman in uniform that he was only a state-councillor in appearance, but really a scoundrel and a rascal, and nothing else but his own nose; but the nose was no longer there. He had had time to go, doubtless in order to continue his visits.

His disappearance plunged Kovaloff into despair. He went back and stood for a moment under a colonnade, looking round him on all sides in hope of perceiving the nose somewhere. He remembered very well that it wore a hat with a plume in it and a gold-embroidered uniform; but he had not noticed the shape of the cloak, nor the colour of the carriages and the horses, nor even whether a lackey stood behind it, and, if so, what sort of livery he wore. Moreover, so many carriages were passing that it would have been difficult to recognise one, and even if he had done so, there would have been no means of stopping it.

The day was fine and sunny. An immense crowd was passing to and fro in the Neffsky Avenue; a variegated stream of ladies flowed along the pavement. There was his acquaintance, the Privy Councillor, whom he was accustomed to style "General," especially when strangers were present. There was Iarygin, his intimate friend who always lost in the evenings at whist; and there another Major, who had obtained the rank of committee-man in the Caucasus, beckoned to him.

"Go to the deuce!" said Kovaloff sotto voce. "Hi! coachman, drive me straight to the superintendent of police." So saying, he got into a droshky and continued to shout all the time to the coachman "Drive hard!"

"Is the police superintendent at home?" he asked on entering the front hall.

"No, sir," answered the porter, "he has just gone out."

"Ah, just as I thought!"

"Yes," continued the porter, "he has only just gone out; if you had been a moment earlier you would perhaps have caught him."

Kovaloff, still holding his handkerchief to his face, re-entered the droshky and cried in a despairing voice "Drive on!"

"Where?" asked the coachman.

"Straight on!"

"But how? There are cross-roads here. Shall I go to the right or the left?"

This question made Kovaloff reflect. In his situation it was necessary to have recourse to the police; not because the affair had anything to do with them directly but because they acted more promptly than other authorities. As for demanding any explanation from the department to which the nose claimed to belong, it would, he felt, be useless, for the answers of that gentleman showed that he regarded nothing as sacred, and he might just as likely have lied in this matter as in saying that he had never seen Kovaloff.

But just as he was about to order the coachman to drive to the police-station, the idea occurred to him that this rascally scoundrel who, at their first meeting, had behaved so disloyally towards him, might, profiting by the delay, quit the city secretly; and then all his searching would be in vain, or might last over a whole month. Finally, as though visited with a heavenly inspiration, he resolved to go directly to an advertisement office, and to advertise the loss of his nose, giving all its distinctive characteristics in detail, so that anyone who found it might bring it at once to him, or at any rate inform him where it lived. Having decided on this course, he ordered the coachman to drive to the advertisement office, and all the way he continued to punch him in the back-"Quick, scoundrel! quick!"

"Yes, sir!" answered the coachman, lashing his shaggy horse with the reins.

At last they arrived, and Kovaloff, out of breath, rushed into a little room where a grey-haired official, in an old coat and with spectacles on his nose, sat at a table holding his pen between his teeth, counting a heap of copper coins.

"Who takes in the advertisements here?" exclaimed Kovaloff.

"At your service, sir," answered the grey-haired functionary, looking up and then fastening his eyes again on the heap of coins before him.

"I wish to place an advertisement in your paper - "

"Have the kindness to wait a minute," answered the official, putting down figures on paper with one hand, and with the other moving two balls on his calculating-frame.

A lackey, whose silver-laced coat showed that he served in one of the houses of the nobility, was standing by the table with a note in his hand, and speaking in a lively tone, by way of showing himself sociable. "Would you believe it, sir, this little dog is really not worth twenty-four kopecks, and for my own part I would not give a farthing for it; but the countess is quite gone upon it, and offers a hundred roubles' reward to anyone who finds it. To tell you the truth, the tastes of these people are very different from ours; they don't mind giving five hundred or a thousand roubles for a poodle or a pointer, provided it be a good one."

The official listened with a serious air while counting the number of letters contained in the note. At either side of the table stood a number of housekeepers, clerks and porters, carrying notes. The writer of one wished to sell a barouche, which had been brought from Paris in 1814 and had been very little used; others wanted to dispose of a strong droshky which wanted one spring, a spirited horse seventeen years old, and so on. The room where these people were collected was very small, and the air was very close; but Kovaloff was not affected by it, for he had covered his face with a handkerchief, and because his nose itself was heaven knew where.

"Sir, allow me to ask you - I am in a great hurry," he said at last impatiently.

"In a moment! In a moment! Two roubles, twenty-four kopecks - one minute! One rouble, sixty-four kopecks!" said the grey-haired official, throwing their notes back to the housekeepers and porters. "What do you wish?" he said, turning to Kovaloff.

"I wish - " answered the latter, "I have just been swindled and cheated, and I cannot get hold of the perpetrator. I only want you to insert an advertisement to say that whoever brings this scoundrel to me will be well rewarded."

"What is your name, please?"

"Why do you want my name? I have many lady friends - Madame Tchektyriev, wife of a state-councillor, Madame Podtotchina, wife of a Colonel. Heaven forbid that they should get to hear of it. You can simply write 'committee-man,' or, better, 'Major.'"

"And the man who has run away is your serf."

"Serf! If he was, it would not be such a great swindle! It is the nose which has absconded."

"H'm! What a strange name. And this Mr. Nose has stolen from you a considerable sum?"

"Mr. Nose! Ah, you don't understand me! It is my own nose which has gone, I don't know where. The devil has played a trick on me."

"How has it disappeared? I don't understand."

"I can't tell you how, but the important point is that now it walks about the city itself a state-councillor. That is why I want you to advertise that whoever gets hold of it should bring it as soon as possible to me. Consider; how can I live without such a prominent part of my body? It is not as if it were merely a little toe; I would only have to put my foot in my boot and no one would notice its absence. Every Thursday I call on the wife of M. Tchektyriev, the state-councillor; Madame Podtotchina, a Colonel's wife who has a very pretty daughter, is one of my acquaintances; and what am I to do now? I cannot appear before them like this."

The official compressed his lips and reflected. "No, I cannot insert an advertisement like that," he said after a long pause.

"What! Why not?"

"Because it might compromise the paper. Suppose everyone could advertise that his nose was lost. People already say that all sorts of nonsense and lies are inserted."

"But this is not nonsense! There is nothing of that sort in my case."

"You think so? Listen a minute. Last week there was a case very like it. An official came, just as you have done, bringing an advertisement for the insertion of which he paid two roubles, sixty-three kopecks; and this advertisement simply announced the loss of a black-haired poodle. There did not seem to be anything out of the way in it, but it was really a satire; by the poodle was meant the cashier of some establishment or other."

"But I am not talking of a poodle, but my own nose; i.e. almost myself."

"No, I cannot insert your advertisement."

"But my nose really has disappeared!"

"That is a matter for a doctor. There are said to be people who can provide you with any kind of nose you like. But I see that you are a witty man, and like to have your little joke."

"But I swear to you on my word of honour. Look at my face yourself."

"Why put yourself out?" continued the official, taking a pinch of snuff. "All the same, if you don't mind," he added with a touch of curiosity, "I should like to have a look at it."

The committee-man removed the handkerchief from before his face.

"It certainly does look odd," said the official. "It is perfectly flat like a freshly fried pancake. It is hardly credible."

"Very well. Are you going to hesitate any more? You see it is impossible to refuse to advertise my loss. I shall be particularly obliged to you, and I shall be glad that this incident has procured me the pleasure of making your acquaintance." The Major, we see, did not even shrink from a slight humiliation.

"It certainly is not difficult to advertise it," replied the official; "but I don't see what good it would do you. However, if you lay so much stress on it, you should apply to someone who has a skilful pen, so that he may describe it as a curious, natural freak, and publish the article in the Northern Bee" (here he took another pinch) "for the benefit of youthful readers" (he wiped his nose), "or simply as a matter worthy of arousing public curiosity."

The committee-man felt completely discouraged. He let his eyes fall absent-mindedly on a daily paper in which theatrical performances were advertised. Reading there the name of an actress whom he knew to be pretty, he involuntarily smiled, and his hand sought his pocket to see if he had a blue ticket - for in Kovaloff's opinion superior officers like himself should not take a lesser-priced seat; but the thought of his lost nose suddenly spoilt everything.

The official himself seemed touched at his difficult position. Desiring to console him, he tried to express his sympathy by a few polite words. "I much regret," he said, "your extraordinary mishap. Will you not try a pinch of snuff? It clears the head, banishes depression, and is a good preventive against hæmorrhoids."

So saying, he reached his snuff-box out to Kovaloff, skilfully concealing at the same time the cover, which was adorned with the portrait of some lady or other.

This act, quite innocent in itself, exasperated Kovaloff. "I don't understand what you find to joke about in the matter," he exclaimed angrily. "Don't you see that I lack precisely the essential feature for taking snuff? The devil take your snuff-box. I don't want to look at snuff now, not even the best, certainly not your vile stuff!"

So saying, he left the advertisement office in a state of profound irritation, and went to the commissary of police. He arrived just as this dignitary was reclining on his couch, and saying to himself with a sigh of satisfaction, "Yes, I shall make a nice little sum out of that."

It might be expected, therefore, that the committee-man's visit would be quite inopportune.

This police commissary was a great patron of all the arts and industries; but what he liked above everything else was a cheque. "It is a thing," he used to say, "to which it is not easy to find an equivalent; it requires no food, it does not take up much room, it stays in one's pocket, and if it falls, it is not broken."

The commissary accorded Kovaloff a fairly frigid reception, saying that the afternoon was not the best time to come with a case, that nature required one to rest a little after eating (this showed the committee-man that the commissary was acquainted with the aphorisms of the ancient sages), and that respectable people did not have their noses stolen.

The last allusion was too direct. We must remember that Kovaloff was a very sensitive man. He did not mind anything said against him as an individual, but he could not endure any reflection on his rank or social position. He even believed that in comedies one might allow attacks on junior officers, but never on their seniors.

The commissary's reception of him hurt his feelings so much that he raised his head proudly, and said with dignity, "After such insulting expressions on your part, I have nothing more to say." And he left the place.

He reached his house quite wearied out. It was already growing dark. After all his fruitless search, his room seemed to him melancholy28 and even ugly. In the vestibule he saw his valet Ivan stretched on the leather couch and amusing himself by spitting at the ceiling, which he did very cleverly, hitting every time the same spot. His servant's equanimity enraged him; he struck him on the forehead with his hat, and said, "You good-for-nothing, you are always playing the fool!"

Ivan rose quickly and hastened to take off his master's cloak.

Once in his room, the Major, tired and depressed, threw himself in an armchair and, after sighing a while, began to soliloquise:

"In heaven's name, why should such a misfortune befall me? If I had lost an arm or a leg, it would be less insupportable; but a man without a nose! Devil take it! - what is he good for? He is only fit to be thrown out of the window. If it had been taken from me in war or in a duel, or if I had lost it by my own fault! But it has disappeared inexplicably. But no! it is impossible," he continued after reflecting a few moments, "it is incredible that a nose can disappear like that - quite incredible. I must be dreaming, or suffering from some hallucination; perhaps I swallowed, by mistake instead of water, the brandy with which I rub my chin after being shaved. That fool of an Ivan must have forgotten to take it away, and I must have swallowed it."

In order to find out whether he were really drunk, the Major pinched himself so hard that he unvoluntarily uttered a cry. The pain convinced him that he was quite wide awake. He walked slowly to the looking-glass and at first closed his eyes, hoping to see his nose suddenly in its proper place; but on opening them, he started back. "What a hideous sight!" he exclaimed.

It was really incomprehensible. One might easily lose a button, a silver spoon, a watch, or something similar; but a loss like this, and in one's own dwelling!

After considering all the circumstances, Major Kovaloff felt inclined to suppose that the cause of all his trouble should be laid at the door of Madame Podtotchina, the Colonel's wife, who wished him to marry her daughter. He himself paid her court readily, but always avoided coming to the point. And when the lady one day told him point-blank that she wished him to marry her daughter, he gently drew back, declaring that he was still too young, and that he had to serve five years more before he would be forty-two. This must be the reason why the lady, in revenge, had resolved to bring him into disgrace, and had hired two sorceresses for that object. One thing was certain - his nose had not been cut off; no one had entered his room, and as for Ivan Jakovlevitch - he had been shaved by him on Wednesday, and during that day and the whole of Thursday his nose had been there, as he knew and well remembered. Moreover, if his nose had been cut off he would naturally have felt pain, and doubtless the wound would not have healed so quickly, nor would the surface have been as flat as a pancake.

All kinds of plans passed through his head: should he bring a legal action against the wife of a superior officer, or should he go to her and charge her openly with her treachery?

His reflections were interrupted by a sudden light, which shone through all the chinks of the door, showing that Ivan had lit the wax-candles in the vestibule. Soon Ivan himself came in with the lights. Kovaloff quickly seized a handkerchief and covered the place where his nose had been the evening before, so that his blockhead of a servant might not gape with his mouth wide open when he saw his master's extraordinary appearance.

Scarcely had Ivan returned to the vestibule than a stranger's voice was heard there.

"Does Major Kovaloff live here?" it asked.

"Come in!" said the Major, rising rapidly and opening the door.

He saw a police official of pleasant appearance, with grey whiskers and fairly full cheeks - the same who at the commencement of this story was standing at the end of the Isaac Bridge. "You have lost your nose?" he asked.

"Exactly so."

"It has just been found."

"What - do you say?" stammered Major Kovaloff.

Joy had suddenly paralysed his tongue. He stared at the police commissary on whose cheeks and full lips fell the flickering light of the candle.

"How was it?" he asked at last.

"By a very singular chance. It has been arrested just as it was getting into a carriage for Riga. Its passport had been made out some time ago in the name of an official; and what is still more strange, I myself took it at first for a gentleman. Fortunately I had my glasses with me, and then I saw at once that it was a nose. I am shortsighted, you know, and as you stand before me I cannot distinguish your nose, your beard, or anything else. My mother-in-law can hardly see at all."

Kovaloff was beside himself with excitement. "Where is it? Where? I will hasten there at once."

"Don't put yourself out. Knowing that you need it, I have brought it with me. Another singular thing is that the principal culprit in the matter is a scoundrel of a barber living in the Ascension Avenue, who is now safely locked up. I had long suspected him of drunkenness and theft; only the day before yesterday he stole some buttons in a shop. Your nose is quite uninjured." So saying, the police commissary put his hand in his pocket and brought out the nose wrapped up in paper.

"Yes, yes, that is it!" exclaimed Kovaloff. "Will you not stay and drink a cup of tea with me?"

"I should like to very much, but I cannot. I must go at once to the House of Correction. The cost of living is very high nowadays. My mother-in-law lives with me, and there are several children; the eldest is very hopeful and intelligent, but I have no means for their education."

After the commissary's departure, Kovaloff remained for some time plunged in a kind of vague reverie, and did not recover full consciousness for several moments, so great was the effect of this unexpected good news. He placed the recovered nose carefully in the palm of his hand, and examined it again with the greatest attention.

"Yes, this is it!" he said to himself. "Here is the heat-boil on the left side, which came out yesterday." And he nearly laughed aloud with delight.

But nothing is permanent in this world. Joy in the second moment of its arrival is already less keen than in the first, is still fainter in the third, and finishes by coalescing with our normal mental state, just as the circles which the fall of a pebble forms on the surface of water, gradually die away. Kovaloff began to meditate, and saw that his difficulties were not yet over; his nose had been recovered, but it had to be joined on again in its proper place.

And suppose it could not? As he put this question to himself, Kovaloff grew pale. With a feeling of indescribable dread, he rushed towards his dressing-table, and stood before the mirror in order that he might not place his nose crookedly. His hands trembled.

Very carefully he placed it where it had been before. Horror! It did not remain there. He held it to his mouth and warmed it a little with his breath, and then placed it there again; but it would not hold.

"Hold on, you stupid!" he said.

But the nose seemed to be made of wood, and fell back on the table with a strange noise, as though it had been a cork. The Major's face began to twitch feverishly. "Is it possible that it won't stick?" he asked himself, full of alarm. But however often he tried, all his efforts were in vain.

He called Ivan, and sent him to fetch the doctor who occupied the finest flat in the mansion. This doctor was a man of imposing appearance, who had magnificent black whiskers and a healthy wife. He ate fresh apples every morning, and cleaned his teeth with extreme care, using five different tooth-brushes for three-quarters of an hour daily.

The doctor came immediately. After having asked the Major when this misfortune had happened, he raised his chin and gave him a fillip with his finger just where the nose had been, in such a way that the Major suddenly threw back his head and struck the wall with it. The doctor said that did not matter; then, making him turn his face to the right, he felt the vacant place and said "H'm!" then he made him turn it to the left and did the same; finally he again gave him a fillip with his finger, so that the Major started like a horse whose teeth are being examined. After this experiment, the doctor shook his head and said, "No, it cannot be done. Rather remain as you are, lest something worse happen. Certainly one could replace it at once, but I assure you the remedy would be worse than the disease."

"All very fine, but how am I to go on without a nose?" answered Kovaloff. "There is nothing worse than that. How can I show myself with such a villainous appearance? I go into good society, and this evening I am invited to two parties. I know several ladies, Madame Tchektyriev, the wife of a state-councillor, Madame Podtotchina - although after what she has done, I don't want to have anything to do with her except through the agency of the police. I beg you," continued Kovaloff in a supplicating tone, "find some way or other of replacing it; even if it is not quite firm, as long as it holds at all; I can keep it in place sometimes with my hand, whenever there is any risk. Besides, I do not even dance, so that it is not likely to be injured by any sudden movement. As to your fee, be in no anxiety about that; I can well afford it."

"Believe me," answered the doctor in a voice which was neither too high nor too low, but soft and almost magnetic, "I do not treat patients from love of gain. That would be contrary to my principles and to my art. It is true that I accept fees, but that is only not to hurt my patients' feelings by refusing them. I could certainly replace your nose, but I assure you on my word of honour, it would only make matters worse. Rather let Nature do her own work. Wash the place often with cold water, and I assure you that even without a nose, you will be just as well as if you had one. As to the nose itself, I advise you to have it preserved in a bottle of spirits, or, still better, of warm vinegar mixed with two spoonfuls of brandy, and then you can sell it at a good price. I would be willing to take it myself, provided you do not ask too much."

"No, no, I shall not sell it at any price. I would rather it were lost again."

"Excuse me," said the doctor, taking his leave. "I hoped to be useful to you, but I can do nothing more; you are at any rate convinced of my good-will." So saying, the doctor left the room with a dignified air.

Kovaloff did not even notice his departure. Absorbed in a profound reverie, he only saw the edge of his snow-white cuffs emerging from the sleeves of his black coat.

The next day he resolved, before bringing a formal action, to write to the Colonel's wife and see whether she would not return to him, without further dispute, that of which she had deprived him.



The letter ran as follows:

"To Madame Alexandra Podtotchina,

"I hardly understand your method of action. Be sure that by adopting such a course you will gain nothing, and will certainly not succeed in making me marry your daughter. Believe me, the story of my nose has become well known; it is you and no one else who have taken the principal part in it. Its unexpected separation from the place which it occupied, its flight and its appearances sometimes in the disguise of an official, sometimes in proper person, are nothing but the consequence of unholy spells employed by you or by persons who, like you, are addicted to such honourable pursuits. On my part, I wish to inform you, that if the above-mentioned nose is not restored to-day to its proper place, I shall be obliged to have recourse to legal procedure.

"For the rest, with all respect, I have the honour to be your humble servant,

"Platon Kovaloff."

The reply was not long in coming, and was as follows:

"Major Platon Kovaloff, -

"Your letter has profoundly astonished me. I must confess that I had not expected such unjust reproaches on your part. I assure you that the official of whom you speak has not been at my house, either disguised or in his proper person. It is true that Philippe Ivanovitch Potantchikoff has paid visits at my house, and though he has actually asked for my daughter's hand, and was a man of good breeding, respectable and intelligent, I never gave him any hope.

"Again, you say something about a nose. If you intend to imply by that that I wished to snub you, i.e. to meet you with a refusal, I am very astonished because, as you well know, I was quite of the opposite mind. If after this you wish to ask for my daughter's hand, I should be glad to gratify you, for such has also been the object of my most fervent desire, in the hope of the accomplishment of which, I remain, yours most sincerely,

"Alexandra Podtotchina."

"No," said Kovaloff, after having reperused the letter, "she is certainly not guilty. It is impossible. Such a letter could not be written by a criminal." The committee-man was experienced in such matters, for he had been often officially deputed to conduct criminal investigations while in the Caucasus. "But then how and by what trick of fate has the thing happened?" he said to himself with a gesture of discouragement. "The devil must be at the bottom of it."

Meanwhile the rumour of this extraordinary event had spread all over the city, and, as is generally the case, not without numerous additions. At that period there was a general disposition to believe in the miraculous; the public had recently been impressed by experiments in magnetism. The story of the floating chairs in Koniouchennaia Street was still quite recent, and there was nothing astonishing in hearing soon afterwards that Major Kovaloff's nose was to be seen walking every day at three o'clock on the Neffsky Avenue. The crowd of curious spectators which gathered there daily was enormous. On one occasion someone spread a report that the nose was in Junker's stores and immediately the place was besieged by such a crowd that the police had to interfere and establish order. A certain speculator with a grave, whiskered face, who sold cakes at a theatre door, had some strong wooden benches made which he placed before the window of the stores, and obligingly invited the public to stand on them and look in, at the modest charge of twenty-four kopecks. A veteran colonel, leaving his house earlier than usual expressly for the purpose, had the greatest difficulty in elbowing his way through the crowd, but to his great indignation he saw nothing in the store window but an ordinary flannel waistcoat and a coloured lithograph representing a young girl darning a stocking, while an elegant youth in a waistcoat with large lappels watched her from behind a tree. The picture had hung in the same place for more than ten years. The colonel went off, growling savagely to himself, "How can the fools let themselves be excited by such idiotic stories?"

Then another rumour got abroad, to the effect that the nose of Major Kovaloff was in the habit of walking not on the Neffsky Avenue but in the Tauris Gardens. Some students of the Academy of Surgery went there on purpose to see it. A high-born lady wrote to the keeper of the gardens asking him to show her children this rare phenomenon, and to give them some suitable instruction on the occasion.

All these incidents were eagerly collected by the town wits, who just then were very short of anecdotes adapted to amuse ladies. On the other hand, the minority of solid, sober people were very much displeased. One gentleman asserted with great indignation that he could not understand how in our enlightened age such absurdities could spread abroad, and he was astonished that the Government did not direct their attention to the matter. This gentleman evidently belonged to the category of those people who wish the Government to interfere in everything, even in their daily quarrels with their wives.

But here the course of events is again obscured by a veil.

III

Strange events happen in this world, events which are sometimes entirely improbable. The same nose which had masqueraded as a state-councillor, and caused so much sensation in the town, was found one morning in its proper place, i.e. between the cheeks of Major Kovaloff, as if nothing had happened.

This occurred on 7th April. On awaking, the Major looked by chance into a mirror and perceived a nose. He quickly put his hand to it; it was there beyond a doubt!

"Oh!" exclaimed Kovaloff. For sheer joy he was on the point of performing a dance barefooted across his room, but the entrance of Ivan prevented him. He told him to bring water, and after washing himself, he looked again in the glass. The nose was there! Then he dried his face with a towel and looked again. Yes, there was no mistake about it!

"Look here, Ivan, it seems to me that I have a heat-boil on my nose," he said to his valet.

And he thought to himself at the same time, "That will be a nice business if Ivan says to me 'No, sir, not only is there no boil, but your nose itself is not there!'"

But Ivan answered, "There is nothing, sir; I can see no boil on your nose."

“Good! Good!” exclaimed the Major, and snapped his fingers with delight.

At this moment the barber, Ivan Jakovlevitch, put his head in at the door, but as timidly as a cat which has just been beaten for stealing lard.

“Tell me first, are your hands clean?” asked Kovaloff when he saw him.

“Yes, sir.”

“You lie.”

“I swear they are perfectly clean, sir.”

“Very well; then come here.”

Kovaloff seated himself. Jakovlevitch tied a napkin under his chin, and in the twinkling of an eye covered his beard and part of his cheeks with a copious creamy lather.

“There it is!” said the barber to himself, as he glanced at the nose. Then he bent his head a little and examined it from one side. “Yes, it actually is the nose — really, when one thinks — ” he continued, pursuing his mental soliloquy and still looking at it. Then quite gently, with infinite precaution, he raised two fingers in the air in order to take hold of it by the extremity, as he was accustomed to do.

“Now then, take care!” Kovaloff exclaimed.

Ivan Jakovlevitch let his arm fall and felt more embarrassed than he had ever done in his life. At last he began to pass the razor very lightly over the Major’s chin, and although it was very difficult to shave him without using the olfactory organ as a point of support, he succeeded, however, by placing his wrinkled thumb against the Major’s lower jaw and cheek, thus overcoming all obstacles and bringing his task to a safe conclusion.

When the barber had finished, Kovaloff hastened to dress himself, took a droshky, and drove straight to the confectioner’s. As he entered it, he ordered a cup of chocolate. He then stepped straight to the mirror; the nose was there!

He returned joyfully, and regarded with a satirical expression two officers who were in the shop, one of whom possessed a nose not much larger than a waistcoat button.

After that he went to the office of the department where he had applied for the post of vice-governor of a province or Government bailiff. As he passed through the hall of reception, he cast a glance at the mirror; the nose was there! Then he went to pay a visit to another committee-man, a very sarcastic personage, to whom he was accustomed to say in answer to his raillery, “Yes, I know, you are the funniest fellow in St. Petersburg.”

On the way he said to himself, “If the Major does not burst into laughter at the sight of me, that is a most certain sign that everything is in its accustomed place.”

But the Major said nothing. “Very good!” thought Kovaloff.

As he returned, he met Madame Podtotchina with her daughter. He accosted them, and they responded very graciously. The conversation lasted a long time, during which he took more than one pinch of snuff, saying to himself, “No, you haven’t caught me yet, coquettes that you are! And as to the daughter, I shan’t marry her at all.”

After that, the Major resumed his walks on the Neffsky Avenue and his visits to the theatre as if nothing had happened. His nose also remained in its place as if it had never quitted it. From that time he was always to be seen smiling, in a good humour, and paying attentions to pretty girls.

IV

Such was the occurrence which took place in the northern capital of our vast empire. On considering the account carefully we see that there is a good deal which looks improbable about it. Not to speak of the strange disappearance of the nose, and its appearance in different places under the disguise of a councillor of state, how was it that Kovaloff did not understand that one cannot decently advertise for a lost nose? I do not mean to say that he would have had to pay too much for the advertisement—that is a mere trifle, and I am not one of those who attach too much importance to money; but to advertise in such a case is not proper nor befitting.

Another difficulty is — how was the nose found in the baked loaf, and how did Ivan Jakovlevitch himself — no, I don’t understand it at all!

But the most incomprehensible thing of all is, how authors can choose such subjects for their stories. That really surpasses my understanding. In the first place, no advantage results from it for the country; and in the second place, no harm results either.

All the same, when one reflects well, there really is something in the matter. Whatever may be said to the contrary, such cases do occur — rarely, it is true, but now and then actually.

Current Page: 1

GRADE:9

Additional Information:

Rating: A Words in the Passage: 1010 Unique Words: 1,786 Sentences: 582
Noun: 2329 Conjunction: 709 Adverb: 614 Interjection: 17
Adjective: 545 Pronoun: 1070 Verb: 1500 Preposition: 981
Letter Count: 35,775 Sentiment: Positive / Positive / Positive Tone: Conversational Difficult Words: 1156
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