Gogol’s “The Nose” probes the role of social mobility and anxiety in Russian society. With the growth of Russian urban life and the general movement towards modernization, individuals were more capable of rising and falling within the Russian hierarchy, spawning discord and hope alike. The prospect of a nose surpassing its individual socially is not unfounded. Gogol continues to examine this theme of social mobility and pandemonium in his “Diary of a Madman” through the image of the nose and the use of animals. He writes “Another reason the moon is such a tender globe is that people cannot live on it any more, and only noses live on it now. This is also why we cannot see our noses—they’re all on the moon.” (176) Once more, the noses have risen above the bodies; they have escaped, leaving their individuals lost and confused. Similarly, the animals seem to be gaining power at a surprising rate. After reading some letters written by dogs, Gogol describes dogs, “I’ve long suspected that dogs are far more intelligent than people. I was even convinced that they are able to speak but are only prevented from doing so by their great stubbornness. Dogs are remarkable politicians: they notice everything, every move a person makes” (164). Not only are the dogs simply more intelligent than humans, but they also have the capacity to read and understand humans in a way that is rare among humans. They are stubborn and “remarkable politicians” while humans are merely the subject of their studies. The notion that both animals and distinct body parts can trump full human beings reflects the general anxiety concerning social mobility.

The two main indicators of nobility and social status in this story are education and clothing. The dogs pose a threat because they are well education and can read and write fluently. The October Fourth journal entry describes the director’s study: “Our director must be a very wise man. All the walls of his study are covered with bookcases” (161). The books on his shelves and his clear education both indicate his wisdom and high social status. Not only does the madman recognize that he is knowledgeable and worldly, but he writes, “Take one look at him: you’ll be amazed at the glow of importance shining from his eyes. I’ve never yet heard him pronounce a superfluous word” (161). This association of education with high status is crucial because it reflects Russian culture, and because it offers any hardworking individual a means of accessing success. This message is a hopeful one for aspiring “simple, working men, even a peasant[…]suddenly it turns out that he’s some sort of big shot, and sometimes even a king” (170). This offers individuals some agency in their social position. The other main indicator of status rests in clothing. The madman says, “The only think that has prevented me from appearing at court is that I do not have any legal garb” (174). Gogol correlates clothing with societal status. He describes the director’s daughter: “She wore a dress as white as a swan: such a splendid dress” (161). Elite fashion clearly indicates wealth and also a consciousness of social hierarchy. Social anxiety and restlessness permeate “Diary of a Madman” particularly drawing the notion of hierarchy and disturbed hierarchy.