Invisible Man

Author: (Russian) Chekhov
Publisher:
Publication Date: 2005-07-01
Features: The work begins with his daily life, depicting how he cannot live without various "suits" in his life: carrying an umbrella on sunny days, plugging his ears with cotton, hiding his face behind a raised collar of his coat. If it were only this, it would be nothing more than eccentric and laughable, and he could be left alone in a corner; yet it goes beyond that. He also keeps his thoughts inside a "suit," which is the decree and regulations of the Tsarist government suppressing people's freedom. He constantly shouts, "Please don’t cause any trouble!" If it were only this, he could talk to himself, and no one need pay attention. But the issue goes far beyond this. He also uses the "suit" to fit others' thoughts. What is even more astonishing is that everyone is afraid of him. It is this odd and timid man who crushes everyone, controls the entire secondary school for fifteen years, and even dominates the entire city, to the point where people dare not speak loudly, write letters, or make friends. In short, people compromise and yield to this neurotic, perverse "suits man," and it can be said that many are forced to a certain extent to crawl into the "suit" themselves. Here, the author poses a thought-provoking question to us. Berliozov is not a high-ranking official; he has no prominent status or power. He is an ordinary secondary school teacher, a figure of no significance in life. In the author's portrayal, he is not an individual but a typical figure of the intellectual and social world, a loyal guardian of the old system, old order, and old ideas. People fear him because they are actually suffocated by the dark and corrupt political atmosphere. At that time in Russia, Alexander III ruled with terror, with detectives scattered across the land and widespread slander and false accusations. Society was indeed filled with many Berliozov-like figures. Through the character of Berliozov, the work directs its critical straight at the Tsarist autocracy that stifles all vitality. From an artistic perspective, the greatest feature of the novel is the extensive use of satire. First, the author uses exaggerated brushwork to paint a vivid portrait of Berliozov, making him appear incredibly pedantic and ridiculous. Additionally, he employs clever contrasts, creating a juxtaposition between his absurd thoughts and his solemn language, which is both amusing and thought-provoking. Riding a bicycle, a very ordinary activity, becomes extremely abnormal in his eyes. He seriously blames, "If a teacher rides a bicycle, then students will have to walk on their heads!" The work also subtly uses irony and rich subtext to mock Berliozov with extreme sharpness. The author writes, "He lies in his coffin, calm, pleasant, even joyful," Look! This "suits man" dies and suddenly becomes lively! The author then points out, "He seems to secretly rejoice that he has finally crawled into a suit and will never have to come out again. Yes! His ideal has been realized." How sharp the satire is! The author implies that only a coffin is the right place for Berliozov, and it should also be the best for all "suits men." The beginning and end of the novel cannot be overlooked. They are important parts of the work and serve to deepen the theme. The novel begins with a conversation between two hunting friends on a snowy night. They were originally chatting freely, unaware that Berliozov's story would evoke their reflections and thoughts. The light and tranquil beginning contrasts with the somber atmosphere of Berliozov's story, followed by a description of a bright and serene moonlight, which again creates a contrast with Berliozov's story. Nature is peaceful and beautiful, while real life is dark and corrupt. On that night, Burchin and Ivan Ivanovich drift into thoughts about the various "suits" in life. The work ends with Ivan Ivanovich no longer able to sleep, standing up, stepping outside, and lighting his pipe. Perhaps he thought, "I can no longer live like this!" The ending of the novel is thought-provoking. In "The Suit," Chekhov heavily employs artistic exaggeration and the symbolic "suit" to portray Berliozov, a timid and mediocre figure under the Tsarist police system, through his appearance, habits, thought patterns, and even his marriage. However, Berliozov's character also has a reactionary side, which is highlighted through Mafra. Mafra merely retreats into her shell, while Berliozov occasionally emerges from his suit to interfere in others' lives. Chekhov (1860–1904) was a great Russian realist critic of the late 19th century, a master of witty and sharp humor, a giant of short stories, and a renowned playwright. Born into a petty bourgeois family, Chekhov supported himself as a private tutor to complete his secondary education. In 1879, he entered Moscow University to study medicine and began practicing medicine and literary in 1884. His early works were mostly short stories, such as "The Fat Man and the Thin Man" (1883), "The Death of a Small Official" (1883), "Sufferings" (1886), and "Vanka" (1886), which depicted the misfortunes and weaknesses of "small people," the miserable lives of the working class, and the vulgarity and petty-mindedness of the petty bourgeoisie. In works like "The" and "Sergeant Prishchepov" (1885), the author scourged the loyal servants of autocratic tyranny and their arrogant, tyrannical, and cruel nature, revealing the reactionary spirit of the dark era. In 1890, after visiting the exile island of Sakhalin, he created works that addressed major social issues, such as "The Sixth Ward" (1892), which fiercely criticized the Tsarist autocratic tyranny and deeply moved Lenin. "The House with a Attic" (1896) exposed the destruction of youth, talent, and happiness in the Russian society and satirized the futileist activities of the liberal local self-government associations. "The Peasants" (1897) realistically described the extreme poverty of peasants in the 1880s and 1890s, showing his concern and sympathy for their tragic fate. "In the Ravine" revealed the ruthless exploitation of wealthy peasants and reflected the penetration of capitalism into rural areas, indicating that the author included the struggle of social classes in Russia as a theme in his creation. In "The Bride" (1903), he believed that the old system would inevitably perish and that a new life would come sooner or later! In his later years, Chekhov turned to playwriting, with major works such as "Ivanov" (1887), "The Seagull" (1896), "Uncle Vanya" (1896), "Three Sisters" (1901), and "The Cherry Orchard" (1903), all of which subtly reflected the anxieties and pursuits of some petty bourgeois intellectuals before the 1905 Russian Revolution. His plays are rich in lyrical charm and full of subtext, leaving the audience pondering long after. The plots, though drawn from daily life, are simple, steady, and imbued with profound symbolic meaning. His short stories are concise, simple, well-structured, vivid, humorous, and clear, with a musical rhythm and profound meaning. He excelled at discovering typical figures and events from daily life, using humorous and absurd plots to create complete and typical images, thereby reflecting the Russian society of his time. His masterpieces "The" and "The Suit" are exquisite and perfect works in the history of Russian literature. The former has become synonymous with those who adapt to the wind, are, and engage in opportunistic behavior; the latter has become a symbol for those who are conservative, timid, and afraid of change. With his outstanding satirical humor, Chekhov added two immortal artistic figures to the gallery of world literature. His famous quote, "Brevity is the soul of wit," has also become an axiom for later writers to strive for. Chekhov had a deep affection for the Chinese people and once invited Gorky to visit China, but his wish was unfulfilled due to his prolonged illness. On July 15, 1904, he passed away from tuberculosis. This book includes short stories such as "The," "The Steppe," "Sufferings," and "The Sixth Ward."