The relationship of the narrator to Silvio and the Count. Characteristics and image of Silvio from Pushkin's shot

SILVIO- A thirty-five-year-old duelist officer, obsessed with the idea of ​​\u200b\u200bvengeance. The story about him was told to Belkin by a certain lieutenant colonel I. L. P., on whose behalf the narration is being conducted (in the initials of the lieutenant colonel one can easily read a hint at the famous breter of that time, I. P. Liprandi). The lieutenant colonel-narrator, in turn, first describes his long-standing personal impression of the hero, then retells the episode told to him by Count B***. So the image of Silvio is consistently reflected in a variety of mirrors, as if passed through a complex system of non-coinciding points of view - and at the same time does not change at all. The invariance of the hero is sharply emphasized - just as his desire to seem dual, strange is emphasized.

The reader sees Silvio for the first time through the eyes of a young officer (the future "lieutenant colonel I. L. P.") in the town of ***, where Silvio lives in retirement, attracting those around him with his mystery. Silvio "appeared to be Russian", although he has a foreign name ("Silvio" is the sound analogue of the "real" name, picked up by the narrator). He lives at the same time "and poor and wasteful." In the hut (!) he holds a collection of pistols; shoots at walls; extraordinarily marks; and most importantly - gloomy and proud. But it is worth the new officer to quarrel with Silvio because of the cards, as he, despite his gloominess and pride, is content with formal apologies and does not challenge the offender to a duel. And only at the end of the first part the narrator (and through him the reader) learns about the reason for such an unexpected "timidity"; this one becomes the finale of the exposition and the beginning of the plot. Silvio considers it necessary to explain himself before parting; it turns out that he "has no right" to put himself at risk of death until he completes the duel six years ago, during which his offender, the count, was too indifferent to the possible death from Silvio's bullet. Silvio's cap was shot through an inch from the forehead; he left his shot behind him [the motif of the “delayed shot” is contained in the story by A. A. Bestuzhev (Marlinsky) “Evening at the bivouac”, the epigraph from which is prefaced by the Pushkin-Belkin short story] in order to find the count in the moment of the highest triumph and take revenge on the noble lucky man .

These words introduce into the plot an implicit motive of social envy of the "romantic" hero for the "fortunate idle man" [the same motive will be developed in The Queen of Spades (see the article "Hermann") and The Bronze Horseman]. Enter - and deprive the hero of a mysterious halo. For the first time, the "Byronic" description of Silvio's appearance ("gloomy pallor, sparkling eyes and thick smoke coming out of his mouth, gave him the appearance of a real devil") begins to look like a parody; behind the complex "behavioral mask" the vulgar unambiguity of the spiritual appearance is slightly revealed.

The image of Silvio will be simplified as his actions and gestures become more and more intricate and even sophisticated. Having found the count in the estate, where he went on his honeymoon, the duelist suddenly appears in the newlywed's office and, having enjoyed the effect, "nobly" offers to cast lots again - so that everything does not look like a murder. But the ostentatious nobility of his gesture is immediately shaded by meanness: Silvio again, as in the case of a card game, violates the unwritten code of noble honor; he continues to aim at the count in front of the woman, his young wife. And the fact that in the end he shoots at the picture (a bullet for a bullet), and not at the happy count, does not change anything. For for the implementation of his "romantic" (and Silvio is a lover of novels) plan, he has already paid with dishonor.

The plot conceived by Silvio is unleashed; the plot of life itself continues (for it is always open, incomplete). But there is no longer a place for Silvio in it: having avenged, he has lost his only goal and, according to rumors, he is dying in the “romantic” battle of the Etherist Greeks for independence in order to be buried in the cemetery near Skulyan. (Similar to Pushkin's lyceum fellow student Broglio, whose appearance and whose name are suspiciously close to the hero of "Shot".) Moreover, near Skulyan, the Turks and Greek Etherists (as well as their voluntary supporters like Silvio) had to fight hand-to-hand - otherwise bullets and shells would hit the Russian quarantine on the opposite bank of the river. Rod; so that the gunslinger Silvio did not die from a shot, and his last enemies did not die from shots. The bullet he fired into the idyllic "Swiss" painting turned out to be "metaphysically the last." And the happiness of the "undeserved" lucky man, the minion of the fate of Count B *** - continues, although overshadowed by what happened.

Literature:

Kojak A. About Pushkin's story "The Shot" // Bridges (Munich). 1970. T. 15.

Petrovsky M. A. Morphology of Pushkin's "Shot" // Problems of Poetics: Sat. articles / Ed. V. Ya. Bryusova. M.; L., 1925.

Telling the story of Silvio, the author reports that "some mystery surrounded his fate." No one could accurately convey the facts of his biography, but it was known that he once served in the hussars, for some reason retired, "settled in a poor place", where he lived "together and poor and wasteful." He was thirty-five years old, he was alone, "kept an open table for all the officers." At his dinners, “champagne flowed like water,” although the atmosphere of the apartment and the life of the owner did not at all speak of well-being. One of the entertainments was playing cards, but Silvio only watched and very rarely played.

Later, the author will know why this man was so wary of any risk: it is absurd, but he saved his life only in order to bring to the end the once suspended duel. The hallmarks of Silvio were self-righteousness and unwillingness to accept objections, other people's opinions, because of which a conflict could flare up. Silvio, knowing about his vehemence, did not enter into disputes, remained silent and was gloomy. It was also known about Silvio's constant training in shooting and his successes: he achieved complete perfection in accuracy in aimed shooting, which aroused respect for him among young officers.

The mysteriousness of this man (beginning with his name) created various assumptions, but it was the inconsistency and duality of his nature that attracted the author-narrator, although Silvio once disappointed him. He did not challenge to a duel an officer who had recently arrived in the regiment, who insulted him. It seemed to many that Silvio seemed to be afraid of a duel, and some of the officers did not forgive him for this "lack of courage." The narrator, who also belonged to the circle of frequent visitors to Silvio's house, was embarrassed, since he could no longer sincerely respect him. And Silvio was "too smart and experienced not to notice it." That is why the conversation took place, during which the hero was very preoccupied: "Gloomy pallor, sparkling eyes and thick smoke coming out of his mouth, gave him the appearance of a real devil."

Thanks to Silvio's confession, the author draws conclusions not only about the originality of his personality, but also about the reasons for this mystery, the features of the hero. The desire to always be the first, in the center of attention and worship, brought him in his youth to bitterness and hatred for those who effortlessly sought recognition and leadership, becoming a rival for Silvio. Such a person turned out to be a young count who arrived in a hussar regiment. He was distinguished not only by his nobility and wealth, but also by his special superiority in everything: “I never met such a brilliant man in my life! Imagine youth, intelligence, beauty, the most frenzied gaiety, the most careless courage…” In a word, Silvio was overcome by envy, and he himself "began to look for ... quarrels" with the darling of fate.

The author, retelling Silvio's confession, does not spare the hero and reports on the negative traits of his character. Such qualities as envy, malice, vindictiveness cannot cause sympathy. And in the hero's ability to concentrate on one goal, to wait for years to achieve it, to solve the task once set, the author saw an obsession, an unprecedented obsession bordering on mental disorders. The narrator also notes the changes in Silvio that have occurred in the six years since the duel. He is now able to look at himself from the outside, to be honest. Telling his story, the hero does not embellish or hide anything, so a merciless assessment of his own pride and other negative qualities is worthy of respect. And yet, nervousness, excitement because of the news received, speak of his unhealthy imagination: he sees the moment of his triumph, victory over a strong opponent whom he wants to punish.

Composition of the story by A. S. Pushkin "Shot"

"Shot" by A. S. Pushkin is the first work that opens his famous cycle "Belkin's Tale". These first prose works of the poet were written on behalf of a man who never existed - Ivan Petrovich Belkin. Mysteriousness and mystery distinguish all Pushkin's stories included in this cycle.

The plot of the "Shot" immediately grabs the attention of the reader. The unfinished duel between Silvio and the young count comes to an end in a few years. Everything ends well, but the dynamic events and unexpected plot twists make the reader pretty worried.

The unusual composition of the work contributes to maintaining the reader's interest. It consists of two parts, and each part has its own narrator, a direct participant in the events. The first half of the story is told to Belkin by Silvio himself. We see things from his point of view. According to Silvio, the young count is a frivolous and careless person who does not understand the value of life. The narrator, on the other hand, appears to the reader as a self-confident, courageous, experienced officer, but at the same time a person who is characterized by feelings of envy, vindictiveness and vindictiveness. Suffice it to recall his annoyance when a new young officer took the central place in the regiment, evoking friendly feelings among his colleagues and favor among the ladies.

Silvio's story is interrupted at the most tense moment, when he learns the news about his abuser. We can only guess how this duel will end. Thus, the author enhances the drama of events and maintains the interest of the reader.

The second part of the story is told by another participant in the duel - a young count who happily married and moved to live on the estate.

Before us is a completely different person, who has become older and wiser. There is nothing left in him of that frivolous young rake, as he seemed to us in the first part of the work. The reader's attitude towards this character changes in the course of the story. He understood the value of life, we see his fear at Silvio's gunpoint and sympathize with him. However, Silvio also showed himself magnanimously: he saved the young man's life, although he could have killed him. Both heroes, who seemed not very attractive at the beginning, turn out to be better and nobler in the end.

In the story "Shot" Pushkin chooses an unusual way of presenting the plot, dividing the work by him into two parts. The depiction of events from different points of view allows the reader to more objectively present a picture of what is happening, and the author to preserve the emotionality and liveliness of the narrative.

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STORIES OF THE LATE IVAN PETROVICH BELKIN

(1830; publ. 1831)

SHOT

Silvio- A thirty-five-year-old duelist officer obsessed with the idea of ​​\u200b\u200bvengeance. The story about him was told to I.P. Belkin by a certain colonel I.L.P., in whose initials one can easily read an allusion to the famous breter of that time, I.P. Liprandi; the narration is conducted on behalf of I. L. P. The colonel-narrator, in turn, first describes his long-standing personal impression of the hero, then retells the episode told to him by Count R ***. So the image of S. is consistently reflected in a variety of mirrors, as if passed through a complex system of non-coinciding points of view - and at the same time does not change at all. The hero's immutability is sharply emphasized, just as his desire to appear dual, strange is emphasized.

For the first time, the reader sees S. through the eyes of a young officer (the future “Colonel I. L. P.”) in the town of ***, where S. lives in retirement, attracting those around him with his mystery. S. is Russian, although he has a foreign name (“Silvio” is the sound analogue of the “real” name, selected by the narrator). He lives at the same time poor and extravagant. In the hut (!) he holds a collection of pistols; shoots at walls; extraordinarily marks; and most importantly - gloomy and proud. But it is worth the new officer to quarrel with S. because of the cards, as he, despite his gloom and pride, is content with a formal apology - and does not challenge the offender to a duel. And only at the end of the first part the narrator (and through him the reader) learns about the reason for such an unexpected "timidity"; this becomes the finale of the exposition and the beginning of the plot. S. considers it necessary to explain himself before parting; it turns out that he “has no right” to put himself at risk of death until he completes the duel six years ago, during which his offender, Count R ***, was too indifferent to the possible death from the bullet of S. S.’s cap was shot an inch from forehead he left his shot behind him (the motif of the “delayed shot” is contained in the story by A. A. Bestuzhev (Marlinsky) “Evening at the bivouac”, the epigraph from which is prefaced by the Pushkin-Belkin short story) in order to find the count at the moment of the highest triumph - and take revenge on the noble lucky man.

These words introduce into the plot an implicit motive of social envy of the "romantic" hero for the "fortunate idle man" (the same motive will be developed in The Queen of Spades and The Bronze Horseman). Enter - and deprive the hero of a mysterious halo. For the first time, the “Byronic” description of S.’s appearance (“gloomy pallor, sparkling eyes and thick smoke coming out of his mouth gave him the appearance of a real devil”) begins to look like a parody; for the first time, behind a complex “behavioral mask”, the vulgar unambiguity of the spiritual appearance is slightly revealed.

And then the image of S. will be the more simplified, the more intricate and even sophisticated his actions and gestures will be. Having found Count R *** on the estate where he went on his honeymoon, the duelist suddenly appears in the newlywed's office - and, having enjoyed the effect, "nobly" offers to cast lots again - so that everything does not look like a murder. But the ostentatious nobility of his gesture is immediately set off by meanness; S. again, as in the case of a card game, violates the unwritten code of noble honor; he continues to aim at the count in front of the woman, his young wife. And the fact that in the end he shoots at the picture (a bullet for a bullet), and not at the happy count, does not change anything .. For the implementation of his “romantic” (and S. is a lover of novels) plan, he has already paid with dishonor.

The plot conceived by C is unleashed; the plot of life itself continues (for it is always open, incomplete). But there is no place for S. in it; having avenged, he lost his only goal - and, according to rumors, he dies in the "romantic" battle of the Etherist Greeks for independence in order to be buried in the cemetery near Skulyan. (Similar to Pushkin's lyceum fellow student Broglio, whose appearance and whose name are suspiciously close to the hero of The Shot.) Moreover, near Skulyan, the Turks and Greek Etherists (as well as their voluntary supporters like S.) had to fight hand-to-hand, otherwise bullets and shells would hit Russian quarantine on the opposite bank of the river. Rod; so shooter S. did not die from a shot - and his last enemies did not die from shots. The bullet he fired into the idyllic "Swiss" painting turned out to be "metaphysically the last." And the happiness of the "undeserved" lucky man, the minion of the fate of Count R *** - continues, even if overshadowed by what happened.