62 pages • 2 hours read
Nikolai GogolA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The narrator opens with a long monologue about the purposes and goals of literature, complaining that while writers who choose heroic, exalted topics win fame and glory, those who depict ordinary life and less morally upright people meet little aplomb. Still, the smaller scale comes with clarity of vision and the chance to hold up a mirror to society. Gogol is able “to walk hand in hand with my strange heroes, to survey in its entirety life that rushes along so massively, to survey it through laughter that is visible to the world and through tears which the world cannot see and does not know” (2556-58).
Chichikov’s task for the day is to properly document all his transactions involving dead souls. Their detailed biographies almost bring the peasants to life again, and he wonders about the adventures each might have had and the circumstances of their deaths. He breaks his reverie to set off for the chief judge’s office, the place where his purchases will be registered. On his way, he meets Manilov, who compliments and embraces him with his usual fervor, and presents him with signed paperwork for the transfer of his dead souls. Manilov clings to Chichikov embarrassingly. They continue this comedy of errors up the stairs, arriving in a busy office full of chatter and the sounds of transcription work.
They are repeatedly sent to different departments until Chichikov assures the head of the serf department that everyone will be bribed appropriately if he can finish his business that same day. The narrator jokingly imbues his description it with pompous grandiosity through allusion to Greek myth and the Western European literary tradition: A clerk “assisted our friends as Virgil once assisted Dante” (2742).
In the judge’s office, Chichikov is surprised, and somewhat discomfited, to see Sobakevich as this means that two people involved in his scheme now know of the other’s participation. The judge congratulates Chichikov on his success, while Sobakevich tells the judge that he has sold his best men to Chichikov on a whim. The judge is briefly concerned that Chichikov has no farmland, but is calmed when Chichikov invents a fictional estate in the Ukraine. The judge suggests they celebrate with alcohol and a feast, courtesy of the generous police chief. The police chief, like the other officials, takes lavish bribes, which give him access to the best food, but he remains popular due to his personality.
At the feast, everyone drinks to Chichikov, hoping he will stay in town longer and perhaps even marry. Everyone gets drunk, and Chichikov spins elaborate stories of his future life in the Ukraine.
In subsequent days, Chichikov’s new wealth and future fate are a source of major gossip and even consternation. The townspeople wonder how Chichikov can possibly resettle so many peasants in a new place, especially as most estate managers are criminals. Chichikov is a great favorite with the townspeople. Once rumors emerge Chichikov is wealthy, he becomes a matter of great interest to the aristocratic women, who deploy social mores as a subtext for great drama over unreturned social calls, are dedicated to fashionable dress and speaking French instead of Russian. He even receives a letter from a secret admirer, promising to reveal her identity at the governor’s next ball.
Preparing for the ball brings out Chichikov’s vain performative side:
A number of bows were performed towards the mirror, accompanied by vague sounds, in part resembling French, although Chichikov did not know a word of French. He even gave himself numerous pleasant surprises, raising an eyebrow, curling a lip, going so far as to try a few tricks with his tongue: to sum up, what won’t you try when you’re on your own and feeling happy with yourself—and, what is more, certain that nobody is going to take a look through a crack in the door? (3067-70).
At the event, even the governor greets Chichikov like a celebrity. The women in attendance have taken great pains with their appearance, and Chichikov wanders among them, hoping to identify his secret admirer. Chichikov greets his hostess, the governor’s wife and is captivated with a young woman by her side: the same teenager whose carriage collided with his barouche is the governor’s daughter. Awestruck, he loses himself in daydreams and ignores the pointed questions from other women or their efforts to show off their best features. Chichikov chases down the governor’s daughter, overcome: “even Chichikovs can for a few minutes turn into poets—though the word ‘poet’ might be going too far” (3208-09). Chichikov is not an especially skilled conversationalist, and the governor’s daughter becomes bored. Chichikov’s behavior angers the other women, but he does not notice—a lapse that will prove consequential.
Nozdryov bursts in drunk. He informs everyone present that Chichikov’s new wealth is in dead peasants. Despite the general knowledge that Nozdryov is a liar, the rumor soon gains currency.
Chichikov finds his good mood spoiled; he loses at cards, ignores conversations, and goes home early. He curses balls as shallow social undertakings, anxious that his lack of substantive social position has been unmasked. He blames the townspeople for his mistakes—scapegoating, the narrator reminds us, typical in moments of anger.
As Chichikov vents his spleen, a ramshackle overstuffed carriage is pulling up to town. Korobochka has arrived at the house of the town priests, anxious that Chichikov has cheated her.
The wife of the vice-governor is eager to impart urgent news to another aristocratic woman. The narrator concerned with avoiding scandal or any accusations, calls the news recipient “a lady pleasant in every respect” (3374). They debate fashion, nearly coming to blows over a dress pattern, before devoting themselves to Chichikov and the uproar he has caused. The narrator takes pains to emphasize that while some of their speech is in French, he will report it all in Russian, as his work is devoted to that language and nation.
They provide an exaggerated account of Korobochka’s visit to Chichikov: He arrived screaming about buying her dead peasants, who he insisted were alive on paper. They decide that Chichikov’s true mission must be Chichikov’s desire to elope with the governor’s daughter. They disparage this young woman’s speech, habits of dress, and possible use of cosmetics. They then deny they ever had any interest in Chichikov as a suitor.
The two women decide that Nozdryov must be Chichikov’s confederate in his kidnapping scheme. Convinced that what they have just invented is the true story, they proceed to take their indignation to everyone in town though it is not clear how the matter of peasant purchases and elopements are related: “Was he going to give her the dead souls as a present, then? [...] It’s not as if any of it made sense […] Still, it had been spread about, so there must have been a reason, right?” (3584-86).
Opinion is gendered. Women focus on the possible love affair between Chichikov and the governor’s daughter. They invent multiple narratives: Chichikov switching his affections from the governor’s wife to her daughter, or his secret first marriage that makes marriage impossible. The governor’s daughter finds herself a social pariah, and her mother bars Chichikov from the family residence.
The women attempt to convince their husbands that the dead souls are a mere pretext for this illicit romance, but men are more concerned about the fact that the emperor has appointed a governor-general for the area, whose mandate will no doubt involve exposing local corruption. They wonder whether Chichikov is this new official, and that maybe the dead souls are supposed to bring to light other local scandals, like peasants who murdered a local policeman for harassing their wives and daughters or feuding merchants whose deaths were recorded as accidental carbon monoxide poisoning rather than as the result of a brawl.
There are also rumors that an expert forger and a highwayman are in the area. Recalling that Chichikov said very little about himself, only that his life had involved setbacks and persecution, the men interrogate those around Chichikov. Korobochka denounces him for impersonating a civil servant. Manilov defends him passionately. Sobakevich insists all the peasants he sold were alive, though some might fall ill and die during their move to Ukraine. Chichikov’s servants only reveal that he had in fact been a government customs official. This is all less than fruitful: “All the searches undertaken by the officials only revealed that they were definitely ignorant of Chichikov’s identity, but that he certainly had to be somebody” (3701-02). They finally resolve to discuss the matter at the chief of police’s home.
Gogol showcases his satirical powers in mocking Russian society and its foibles. Chichikov’s journey—his bribing clerks to register his newly acquired dead—takes on the tenor of mock epic, a literary device which uses elevated language to describe something of extremely low status. Here, Gogol takes the deceitful, petty, grubby qualities of those Chichikov encounters and compares them to figures from classical antiquity: The clerks are like to Themis, Greek goddess of justice, and the great epic poet Virgil, who conducted Dante through hell in The Divine Comedy. These obviously overly grand literary allusions highlight the lack of grandeur that accompanies Chichikov, who everywhere sees only human folly, frailty, and corruption. Additionally, by referencing Dante’s vision of the afterlife, Gogol alludes to his intended structure for Dead Souls: In its completed form, this prose poem was intended to have a structure similar to Dante’s work.
Gogol was closely associated with Russian intellectuals who opposed the country’s Westernization; he, like they, believed its salvation lay with national traditions, which helps explain his association of the French language and fashion with decadence. Chichikov meets his downfall at a ball where European trends predominate, as the narrator mocks the pretentiousness of the Russian aristocrats’ speaking French.
As rumors about Chichikov fly, Gogol’s narrator lobs gendered insults at the divided opinions of the townspeople. The women’s shallow nature and obsession with fashion and appearances makes them obsess over the potential scandal of illicit romance between Chichikov and the governor’s daughter as they jealously squabble over the newcomer’s attention. They care less about logic—how would dead souls figure in this romance?—and more about prurient speculation.
The men’s reaction, meanwhile, underscores the depth of their corruption. Anxiety about government oversight, and the sense that the terrible goings-on swept under the rug will soon be uncovered, is a frequent theme in Gogol’s other works, such as his 1837 play The Inspector General. As the men recall scandal after scandal that they have hushed up, Gogol mocks the coarse sleaze of their community.
By Nikolai Gogol
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