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Similes
Chapter 3. The Seventh Proof
Explanation and Analysis—The Streetcar:
Devilish, ironic luck follows Berlioz when he leaves the park. In Chapter 3, the literary editor reaches his bloody end just as he passes the turnstiles, exemplifying situational irony:
‘He turned it and was ready to step across the rails, when a burst of red and white light flashed into his face: the glass case lit up with a warning, ‘Look out for the streetcar!’
And all at once the streetcar careened around the corner of the newly-laid line from Yermolayev Lane to Bronnaya.
Chapter 9. Koroviev’s Stunts
Explanation and Analysis—Devil Knows How Far!:
In almost the same way idiom and irony cross paths, Nikanor Ivanovich bumps into the strange man with the pince-nez and jockey cap as he checks on apartment 50 at the start of Chapter 9:
Unlock with LitCharts A+‘Why, he’s gone, he’s gone already!’ shouted the interpreter. ‘Oh, he is way out by now! The devil knows how far he is!’ and the interpreter waved his hands like a windmill.
Related Themes:
Chapter 18. Hapless Visitors
Explanation and Analysis—No Good People:
Maximilian Andreyevich enters apartment 50 with high hopes and a strange acquaintance. Meeting a tomcat and a crying stranger in Chapter 18, Berlioz’s uncle feels a sudden upwelling of emotion, in a moment laden with paradox and irony:
Unlock with LitCharts A+Berlioz’s uncle was sincerely moved by the stranger’s conduct. “And they say there are no good people left in the world today!" he thought, feeling that his own eyes were beginning to smart.
Related Themes:
