Critics note that the story's title in Russian (Нос, "Nos") is the reverse of the Russian word for "dream" (Сон, "Son").[8] As the unreliable narrator himself notes, the story "contains much that is highly implausible", while an earlier version of the story ended with Kovalyov waking and realizing that the story was indeed a dream.[2] Without the awakening, however, the story becomes a precursor of magical realism, as an unreal element is woven into a realistic narration.[1] Critics also note the abrupt changes in the narrative that appear to them to be pieced together like fragments. The story line appears to have multiple branches to facilitate the nature of unpredictability as a theme in the story.[9]
Major Kovalyov is a person with many inconsistencies and contradictions.[10] Gogol uses this to highlight the "fractured identity of the main character."[11] There is a significant imbalance on how Kovalyov views himself, and how the outside world perceives him. Rather than focusing on his inner appearance, all of his energy and thought goes towards maintaining his outward appearance. "The collegiate assessor’s private and public faces seem almost unrelated."[12] This kind of portrayal of an average citizen of Saint Petersburg reflects Gogol's position as a transplant to the city, who views the social hierarchy of the city from an outside perspective.[2]
At the end of the story, it appears that Gogol is talking directly to the reader. It is never explained why the Nose fell off in the first place, why it could talk, nor why it found itself reattached. By doing this, Gogol was playing on the assumptions of readers, who may happily seek absurd stories but at the same time still want a normal explanation.[2]
