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Elements of a tragic hero
Elements of a tragic hero
The downfall of the tragic hero
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The Overcoat by Nikolai Vasilievich Gogol
The hero of “The Overcoat”, Akaky Akakievich, engenders both hatred and pity from the reader. His meekness and his pathetic life deserve sympathy, while his utter detachment from his peers and his singular obsession with a coat are often despised. He is drastically different from any of his peers, but there is a certain purity in his way of life which the overcoat defiles. Akaky’s world is completely devoid of any excitement; his sole source of pleasure lies in his work. However, his career itself is excruciatingly mundane and only a man as simple as he could extract happiness from it. Akaky is a ghost in his world, and only his death leaves any impression. Temptation, in the form of a luxurious coat, is forced upon him and upsets his peaceful life. Akaky should not be hated for his disconnection from reality or for his symbolic marriage to an overcoat; rather he should be pitied for his terrible fate.
Akaky is doomed from birth. When his mother pages through the Russian Orthodox calendar for names for her son, each name carries the connotation of martyrdom. She realizes that he will be unable to avoid a similarly miserable fate, and so resignedly gives him the monotonous name of “Akaky, son of Akaky”. Nothing about him, in fact, is either notable or appealing. Described as short, pockmarked, balding and ruddy-faced, Akaky is the antithesis of attractive. A fly commands more attention than he does. His diminutive salary prevents him from affording anything but the poorest of clothing, but finer garments could scarcely improve his looks. Even the timing of his walks to work is cursed; he constantly finds himself the target of garbage thrown out of apartment windows and so is alw...
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... of a general may hide the face of the “…certain important person…” (p. 415) whose cruelty weakens and ultimately kills Akaky. Fate is represented by the “…northern frost…” (p. 399) which, combined with the temptation offered by Petrovich and the brutality of the general, dooms Akaky. His mother was correct in assuming his destiny to be inescapable. As Akaky is completely unaware of the pact he makes with the devil, he cannot be held responsible when the seemingly wonderful overcoat consumes his soul.
Akaky cannot be despised for his obsession with an object because his pathetic life made his fixation unavoidable. The overcoat granted him his first sensation of pride, importance, and acceptance, and so he could not help but become attached to it. He was content before the garment entered his life, but Petrovich and the cold St. Petersburg weather force it upon him.
In Frederick Nietzsche’s The Death of God, his madman cries, “God is dead. God remains dead. And we have killed him. How shall we comfort ourselves, the murderers of all murderers? What was holiest and mightiest of all that the world has yet owned has bled to death under our knives: who will wipe this blood off us?”(The Madman) To Nietzsche, the phrase "God is dead" is not to be take literally in the sense that he believed in an actual God who existed and then died. Rather, he is implying that the Christian God is no longer the go to for absolute moral principles. In a way, Nietzsche’s The Death of God is explaining that because people are starting to no longer believe in god, their morality isn't tied up in the idea of some imaginary being. It seems that Nietzsche's intended purpose was to do away with the traditional idea of “Christian” morality as he believed that because people were evolving to a place where they could create their own morality, God was unnecessary and irrelevant.
The short story “The Death of Ivan Ilych” is about a man who realizes he is dying and that no one in his life cares about him. Even more disappointing for Ivan is the realization that besides his success as a high court judge, he has done nothing else to make his life worth saving. The death of Ivan Ilyich, sadly, comes as a release of stress to all. In the end, Ivan is soothed by the release of death, his family and friends are relieved of having responsibility of Ivan taken off their shoulders, and the reader is released from the stressful journey. Tolstoy teaches the audience through the structural elements of the “black sack” metaphor and pathos about the unavoidability of death and the relief of accepting it.
The short story, “Ivan Fyodorovich Shponka and His Aunt”, explicates the life of a man named Ivan Fyodorovich Shponka. We see him briefly in his young years, followed by his life in the army, and his return to the farm where his strong characterized aunt resides. We can see immediately that this man lives in constant cleanliness and dutiful paranoia; these are some of his desires that he wishes to exhibit to others. We can also see his fears, which reside in the confiscation of his masculinity and independence. This short story has many elements that resemble others in the Nikolai Gogol collection.
In a quest to justify and rationalize his actions, Mochulsky pushed the reader to question the extent of his free will. Ultimately, Mochulsky prompted us to wonder whether he was a perpetrator or a victim. Indeed, Mochulsky’s relationship with the Bolshevik Party was ambiguous. He was a pure product of the Soviet regime being born after the October Revolution and having completed his education under the Soviet rule. He owed the Bolshevik government his upward mobility. Furthermore, he actively participated in the repression apparatus. However, the author blurred the lines between convicts and guards by emphasizing on the lack of leeway of the latter. The camp leadership lived allegedly under the constant threat of being sentenced to the Gulag: “And we looked at the […] ...
Dostoyevsky's writing in this book is such that the characters and setting around the main subject, Raskolnikov, are used with powerful consequences. The setting is both symbolic and has a power that affects all whom reside there, most notably Raskolnikov. An effective Structure is also used to show changes to the plot's direction and Raskolnikov's character. To add to this, the author's word choice and imagery are often extremely descriptive, and enhance the impact at every stage of Raskolnikov's changing fortunes and character. All of these features aid in the portrayal of Raskolnikov's downfall and subsequent rise.
The conflict between good and evil is one of the most common conventional themes in literature. Coping with evil is a fundamental struggle with which all human beings must contend. Sometimes evil comes from within a character, and sometimes other characters are the source of evil; but evil is always something that the characters struggle to overcome. In two Russian novels, Fyodor Dostoevsky’s Crime and Punishment and Mikhail Bulgakov’s The Master and Margarita, men and women cope with their problems differently. Raskolnikov in Crime and Punishment and the Master in The Master and Margarita can not cope and fall apart, whereas Sonya in Crime and Punishment and Margarita in The Master and Margarita, not only cope but pull the men out of their suffering.
Fear is only one of the emotions that drive people. Society and even religion uses fear in the form of consequences to persuade people to control their EGO. The Death of Ivan Ilyich by Leo Tolstoy allows the readers to learn the consequences of living a completely selfish, non-Christian life without actually having to make Ivan’s mistakes. At face value, The Death of Ivan Ilyich by Leo Tolstoy is not a Christian novel. There is no mention of spirituality until the final chapter of the book, ****** there are only vague references to life after death with no mention of Christianity. However, fiction is about telling a story; it is about leaving the reader changed by the end of the book. In this regard, Tolstoy’s The Death of Ivan Ilyich is a masterpiece and should be celebrated by Christians as a work of art.
Ivan Ilych was a member of the Court of Justice who was "neither as cold and formal as his elder brother nor as wild as the younger, but was a happy mean between them—an intelligent, polished, lively, and agreeable man” (Tolstoy 102). He lived an unexceptionally ordinary life and strived for averageness. As the story progresses, he begins to contemplate his life choices and the reason for his agonizing illness and inevitable death. “Maybe I did not live as I ought to have done, but how could that be, when I did everything properly?” (Tolstoy
Fyodor Dostoevsky’s Crime and Punishment begins with Rodion Romanovich Raskolnikov living in poverty and isolation in St. Petersburg. The reader soon learns that he was, until somewhat recently, a successful student at the local university. His character at that point was not uncommon. However, the environment of the grim and individualistic city eventually encourages Raskolnikov’s undeveloped detachment and sense of superiority to its current state of desperation. This state is worsening when Raskolnikov visits an old pawnbroker to sell a watch. During the visit, the reader slowly realizes that Raskolnikov plans to murder the woman with his superiority as a justification. After the Raskolnikov commits the murder, the novel deeply explores his psychology, yet it also touches on countless other topics including nihilism, the idea of a “superman,” and the value of human life. In this way, the greatness of Crime and Punishment comes not just from its examination of the main topic of the psychology of isolation and murder, but the variety topics which naturally arise in the discussion.
In every rags to riches story, the protagonist eventually must decide whether it is better to continue to associate with impoverished loved ones from the past, or whether he or she should instead abandon former relationships and enjoy all that the life of fame and fortune has to offer. Anton Chekhov gives his readers a snapshot of a young woman in such a scenario in his short story Anna Round the Neck. While this story certainly gives a glimpse of the social climate in Russia during the nineteenth century, its primary focus is the transformation of Anyuta (Anna) Leontyich from a meek, formerly impoverished newlywed into a free-spirited, self-confident noblewoman. Throughout the story, the reader is drawn to pity Anna’s situation, but at the
Akaky Akakievich is a low class man and he works hard for his money, yet his materialistic co-workers torment him because of his shabby, worn-out overcoat. Consequently he goes out and purchases a new overcoat. Quickly people begin to respect him more as he wears the new coat, and it creates for him a new identity. Akaky no longer is the blunt of office jokes, for he is now dressed more fashionably in the eyes of his colleagues. As Akaky walks down the street, he begins to see things in a new light. From the women that pass him by, to what he sees inside the store windows. Things seem to have a new meaning in his world, all because of his new overcoat. Akaky cares so much about his coat because it cost him quite a lot of money, but more importantly it made him feel more confident, more accepted by those around him. The overcoat was friend to him because it was there for him. It gave him a sense of security and it protected him in the frigid Petersburg climate.
Tolstoy, Leo. “The Devil”. The Death of Ivan Ilyich and Other Stories.Trans. Richard Peaver and Larissa Volokhonsky. New York: Alfred A. Knopf, 2009. Print.
Akaky Akakievitch Bashmatchkin is an ordinary titular councilor, a rather unimportant detail of the bureaucratic mechanism. Introducing him to the reader, the narrator states that he is “not a very high [official]”, “short of stature, somewhat pock-marked, red-haired, and short-sighted, with a bald forehead, wrinkled cheeks, and a complexion of the kind known as sanguine” (Gogol 1). Akaky’s mediocre character is revealed already in the description of his appearance. Gogol’s narrator calls this character a “perpetual” titular councilor, apparently implying that there were no prospects for professional development, promotion or a higher status for him. However, as it becomes clear later, Akaky has no ambitions for that: “However much the directors and chiefs of all kinds were changed, he was always to be seen in the same place, the same attitude, the same occupation; so that it was afterwards affirmed that he had been born in undress uniform with a bald head” (Gogol 2). The narrator spends much time and wit to provide a jestful account of Akaky’s occupation: the character diligently, and probably even with love, performs his monotonous duties, copying letters, “living so entirely for his duties” (Gogol 3). Moreover, Akaky has no interests beyond his occupation and spend his free time copying more letters for pleasure. He has
Search of identity in, the “Namesake”. In an interview, Lahiri acknowledged the influence of Nikolai Gogol’s ‘The Overcoat’: ‘The Overcoat’ is such a superb story. It really does haunt me the way it haunts the character of Ashoke in the novel… Of course, without the inspiration of Nikolai Gogo...
These aristocrats, despite their high education and power, will do nothing to help win the war. They live like parasites on the body of Russia’s society. This is how Tolstoy describes this class in general, but he also depicts two representatives of this upper class, Andrew Bolkonsky and Pierre Bisuhov, who were the more intellectual ones, and whose lives and views of war and life changed as the result of the war. Andrew was interested in a military career, and wasn’t completely satisfied with the czar, while Pierre wasted his life on alcohol – his everyday activity.