Zulfyu Livaneli: “We also came out of Gogol’s “The Overcoat.” We all came out of Gogol's Overcoat (interpretation of Gogol's text)

We all came out of Gogol's overcoat
The authorship is erroneously attributed to F. M. Dostoevsky, who once uttered this phrase in a conversation with the French writer E. de Vogue. The latter understood it as the writer’s own passions and cited it in his book “Russian Novel” (1886).
But in reality, these words belong, as proved by the Soviet literary critic S. A. Reiser (see: Questions of Literature. 1968. No. 2) to the French critic Eugene Vogüe, who published an article about Dostoevsky in “Rftvue des deux Mondes” (1885. No. 1). . In it, he spoke about the origins of the work of this Russian writer.
In its present form, this expression came into circulation after Eugene Vogüe’s book “Modern Russian Writers. Tolstoy - Turgenev - Dostoevsky" (Moscow, 1887).
Used: to characterize the humanistic traditions of classical Russian literature.

encyclopedic Dictionary winged words and expressions. - M.: “Locked-Press”. Vadim Serov. 2003.

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author Lopukhin Alexander

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This phrase appeared in a series of articles by the French critic Eugene Vogüe, “Modern Russian Writers,” published in the Parisian “Two Monthly Review” (“Revue des Deux Mondes”) in 1885, and then included in Vogüe’s book “The Russian Novel” (1886). In 1877–1882 de Vogüe lived in St. Petersburg as secretary of the French embassy and was closely acquainted with many Russian writers.

Already at the beginning of the first of the magazine articles (“F. M. Dostoevsky”) Vogüe notices - still on his own: “... between 1840 and 1850, all three [i.e. e. Turgenev, Tolstoy and Dostoevsky] came from Gogol, the creator of realism.” In the same article the formula appeared:

We all came out of Gogol’s “The Overcoat,” Russian writers rightly say.

The more I read Russians, the more I see the truth of the words that one of them, closely associated with literary history of the last forty years: “We all came out of Gogol’s “Overcoat”” (my italics - K.D.).

In the first Russian translation of Vogüe's book (1887), this phrase is conveyed by indirect speech: “Russian writers rightly say that they all “came out of Gogol’s “Overcoat”.” But already in 1891, in the biography of Dostoevsky, written by E. A. Solovyov for Pavlenkov’s series, the canonical text appears: “We all came from Gogol's Overcoat“- and here the phrase is unconditionally attributed to Dostoevsky.
S. Reiser believed that this was a “summary formula” created by Vogüe himself as a result of conversations with various Russian writers (“Questions of Literature”, 1968, No. 2). S. Bocharov and Y. Mann were inclined to believe that Dostoevsky was the author, among other things, pointing out that Dostoevsky entered literature exactly 40 years before the publication of Vogüe’s book “The Russian Novel” (“Questions of Literature”, 1988, No. 6).
However, in the reliable statements of Dostoevsky there is nothing similar to this idea. And in his Pushkin speech (1880), he, in fact, derives contemporary Russian literature from Pushkin.

Russian émigré critic Vladimir Veidle suggested that the phrase about the overcoat was uttered by Dmitry Grigorovich, “one of Vogüe’s Russian informants” (“Heritage of Russia”, 1968). Grigorovich entered literature at the same time as Dostoevsky, 40 years before the publication of de Vogüe’s articles, and also under the strong influence of Gogol.

Whoever the “Russian informant Vogüe” was, the word “we” in this phrase could only refer to representatives of “ natural school"of the 1840s, to which Tolstoy - one of the main characters of the Russian Novel - did not belong.

Those who wrote about the authorship of the saying did not think about its form. Meanwhile, before the translation of Vogüe’s book, the phrase “We came from ...” was not found in Russian in the meaning: “We came from the school (or: we belong to the school, direction) of such and such.”
But it is precisely this turnover that we find in classic work French literature, and in a form very close to the Vogüe formula. In Flaubert's novel Madame Bovary (1856) we read:
He [Larivière] belonged to the great surgical school that emerged from Bichat's apron (sortie du tablier de Bichat).

This refers to the surgical apron of the famous anatomist and surgeon Marie François Bichat (1771–1802). Following Flaubert, this definition is invariably cited in France when we're talking about about the French surgical school, and often about French medicine in general.
To the translators of Madame Bovary, the phrase “sortie du tablier de Bichat” seemed so unusual that they simply threw out the “apron”. In the first (anonymous) Russian translation (1858): “Larivière belonged to the great surgical school of Bichat.” Translated by A. Chebotarevskaya, edited by Vyach. Ivanova (1911): “Larivière was one of the luminaries of the glorious surgical school of Bichat.” In the “canonical” Soviet translation by N. M. Lyubimov (1956): “Larivière belonged to the surgical school of the great Biche.” English and German translators did exactly the same with Bisha’s apron.

May with high degree confidence to assert that the formula “come out of (a certain article of clothing)” in the sense of “belong to the school of such and such” was created by Flaubert and two decades later used by de Vogüe in relation to Gogol. It is quite possible that one of the Russian writers told him something similar, but the verbal formulation of this thought was born in French.
In the 1970s, the phrase “get out of Stalin’s overcoat” appeared in emigration journalism. Since the late 1980s, he began to master Russian seal. Here are two typical examples:
“As they say, we all came out of Stalin’s overcoat. Moreover, many of us continue to look at life from under Lenin’s cap” (V. Nemirovsky, “Red, Green, White...”, in the magazine “Chelovek”, 1992, No. 3).

“...In the 80s, according to Kostikov and other apprentices of perestroika, (...) society came out of Stalin’s overcoat and elegantly wrapped itself in Gorbachev’s suit” (Valeria Novodvorskaya, “Thinking Reed Vyacheslav Kostikov”, in the magazine “Capital”, 1995, no. 6).
However, “overcoat”, “coat”, etc. have long been no longer necessary in this formula - you can come out of anything, at least from a square:
“We all came out of Malevich’s square” (interview with artist Georgy Khabarov in the newspaper “Top Secret”, October 7, 2003).

This phrase, first found in the French literary critic Eugene de Vogüe (I indicate the source so that you are not mistaken: the phrase does not belong to Dostoevsky!), reflects the significance of this short story in world literature.

It sounds pompous, but it is here that the the main problem, which has worried people for many centuries. This problem " little man» . Of course, she is not alone, there are both moral and ethical problems here, but still in the foreground, as we would say today, is the average person. The "little man" problem

Theses, which I formulated in the form of questions and answers, so that it is more convenient for you to place them in your essay materials.

Who is Akaki Akakievich Bashmachkin, main character stories? A minor official in the office, engaged in copying documents, inconspicuous, quiet, not attracting any attention to himself. His colleagues mocked him, and the hero only said in response: “Why are you offending me?”, and behind these words one could hear: “I am your brother” (as Gogol writes).

What does he have in life? Nothing. He lives in a small apartment, eats poorly, and all his interests boil down to copying papers.

How does he himself feel about this? Akaki is not at all bothered by this. He didn’t know any other life, had nothing, and the hero is happy. Gogol does not hide the spiritual poverty of the hero’s interests and life.

What shook the usual course of life of the little official? The overcoat was worn out into trash. Akaki stopped drinking tea in the evenings, wore a dressing gown so as not to wear out other clothes at home, walked on tiptoe so that the soles of his shoes would not wear out, and finally the money for a new overcoat was saved up. The new overcoat became the meaning of life.

How the hero’s life changed after the acquisition new overcoat? He was noticed, Akaki was even invited to an evening with his superiors. But horror! When he returned, the overcoat was pulled off his shoulders. Akakiy tried to turn to the boss for help, but he kicked him out. The hero caught a cold, fell ill and died. The reader understands that Akaki died not from illness, but from grief.

Like this sad story. What did Gogol want to tell his readers? What is idea stories?

The author condemns social system, in which a person is visible only when he occupies a post.

The ending of the story

As you understand, “The Overcoat” is not an easy story. Its main mystery remains - the ending. At the end, Gogol talks about a ghost pulling off greatcoats, coats and fur coats from people. He calmed down only when he did the same with the boss, who rudely threw Akaki out into the street.

Why does Gogol need to introduce such a fantastic story? Here literary scholars disagree. I don’t think it’s necessary to present all points of view; I’ll tell you about the one that, in my opinion, follows from the entire work of the great writer.

Earlier I said that for Gogol the main thing in a person was the soul, that he always looked beyond the social both in society and in man.

The ghost tearing off the greatcoats from passers-by, powerful and terrible, is the soul of Akaki, who did not find goodness and justice in the world and escaped from the shackles..

This version belongs to the great Russian writer V. Nabokov.

Attention, Unified State Examination! The material on “The Overcoat” is an excellent illustration for texts with the problem of goodness, justice, mercy (the attitude of people around the hero and the system itself), on the other hand, an illustration for texts about the spiritual misery of a person focused on one material goal.

The material was prepared by Karelina Larisa Vladislavovna, Russian language teacher highest category, honorary worker general education RF