Deception, or the masking of the truth, is central to “The Death of Ivan Ilyich.” This theme was made clear from the beginning, as characters masked their selfish intentions and thoughts behind actions that were deemed to be polite and “correct.” Ivan himself was considered a master of deception, being that his whole life was a lie – a façade built in order to impress those higher on the social ladder. In his official life, he assumed an impersonal “important air” – the word assumed implying again that it was an act put on to correctly fit the circumstances. In his personal life, Ivan was non-existent since he used “his judicial labours… to hide from him what he wanted them to hide” (Tolstoy 764). He maintained the idea that he led a pleasant life by hiding from the problems that existed at home, such as his failed marriage and lost of several children.

Fittingly, words like ‘deception,’ ‘falsity,’ ‘lies,’ and physical objects made to hide the truth underneath, such as ‘veil’ and ‘screen’ are repeated throughout these later chapters. Although Ivan expresses his contempt for those around him for accepting the lie that he was simply ill with the chance of recovery, he is guilty of doing the same. He continues in a cyclic pattern, shifting from imagining “that desired improvement in the vermiform appendix occurred” (Tolstoy 761) to calling his medicine “all tomfoolery, all deception” (Tolstoy 768) and back again. This indicates that he is grappling with the idea of death, afraid to accept his fate despite that “in the depth of his heart he knew he was dying” (Tolstoy 763). There is a continual web of deception being woven: by Ivan himself as he shies away from the abyss, and by those around Ivan (wife, brother-in-law, and doctors) who refuse to admit the severity of his case.

Deception is the cause of the suffering brought onto Ivan. As he recalls the events in his life, he comes to realize that “none of those best moments of his pleasant life now seemed at all what they had then seemed – none of them except the first recollections of childhood” (Tolstoy 773). His childhood was the only point in his life where he was genuinely driven by his desires and not the ideas imposed by society. At this point, he was described as the “phoenix of the family,” a majestic bird that is characterized as unique (there is only one). However, as he progressed in life, giving up his personal convictions and taking up others, Ivan’s life grew darker. Putting up a façade was the poison to his life force. This is likely why ironically; Ivan develops his illness while designing his house, which he believes, will impress those of high social class. Moreover, it is as putting up drapes – a cloth used to hide the interior of the house from those outside – that he injures himself.

Denial of his illness brings about a mental pain that exceeds his physical suffering. Ivan continually looked for “new screens” to hide the pain and thoughts of death. However the “new screens… immediately fell to pieces or rather became transparent, as It penetrated them and nothing could veil It” (Tolstoy 764). Ivan’s reluctance to face the idea of death pairs with his stubborn unwillingness to see where he went wrong with his life. This state of denial only works to bring more pain, as the pain clings to him, refusing to let go no matter how he tries to distract himself. However, it is only when he accepts the falsity of his social and official interests throughout his life, and truly accepts that his family would be better off without the suffering caused by him that Ivan is set free. For the first time he faces the problems at hand rather than running away. At that moment he asked, “Where are you, pain?” (Tolstoy 778) and had to turn his attention to it. The constant gnawing no longer bothered him, nor did death bring about fear. Instead what he prior considered as the abyss, becomes light and joy.

In this novella filled with artificial characters, Gerasim is a refreshing change from the norm. He is also the only lower class character that is truly explored – indicated by the fact that he is addressed by his first name only as opposed to his full name. He is complimented by Ivan on how “easily and well [he] does it all” (Tolstoy 766). The fondness Ivan regards Gerasim is made more evident by the fact that “health, strength, and vitality in other people were offensive to him, but Gerasim’s strength and vitality did not mortify but soothed him” (Tolstoy 766). This is brought about by the genuine nature of Gerasim – his sincere good-natured roots with the desire to help. Unlike the other characters, Gerasim is comfortable in his social class, without the tainting of the materialistic drive. For this reason, he does not regard Ivan as figure to gain something from, whether it is a promotion or pension. He is described as doing things easily and “stepping lightly” because he does not bear the weight of selfish desire on his shoulders (instead he bears the weight of Ivan’s legs). His actions come easily because he is being true to himself, as opposed to others who put on a façade to impress others.