How Silvio appears before us (based on Pushkin’s story “The Shot”). Is it possible to call Silvio in A.S. Pushkin’s story The Shot an exceptional personality?
Zhanna TEMNIKOVA
Zhanna Valerievna TEMNIKOVA is a teacher of Russian language and literature at gymnasium No. 57 in Kurgan.
Silvio - romantic hero?
U rock is the final story based on the story by A.S. Pushkin "Shot". When preparing it, we used the manual “History of Russian literature of the 19th century century. 1800–1830s / Ed. V.N. Anoshkina, S.M. Petrova"; textbook A.G. Kutuzova, L.V. Colossus “How to enter the world of literature. 7th grade"; materials from the site http://ppf.asf.ru/lect15.htm
I. Introduction
In previous literature lessons, we looked at ways to create the image of Silvio in the story by A.S. Pushkin "Shot". Let's list them.
(Students name Silvio’s self-characteristics, indirect characteristics through the interior, the story of a young officer (then retired lieutenant colonel I.L.P.) and the count.)
We also discussed the fact that Silvio fits the definition of a “romantic hero.”
Let's remember what qualities a literary hero must have to be called romantic?
(Willpower, courage, exclusivity; the ability to subjugate circumstances; mystery, mystery of behavior, actions.)
It would seem that we fully encounter these qualities in Silvio. But is Silvio really that mysterious? Is the duel between him and the count really so romantic and noble?
Let's try to figure it out.
II. Conversation
The story has several narrators; let's list them (write on the board as they are named):
1) narrator (Lieutenant Colonel I.L.P.);
2) Silvio;
4) Belkin;
5) Pushkin.
What goal did Pushkin pursue when creating such a gallery of storytellers?
(Create a three-dimensional image of Silvio, show different estimates happening.)
Let's consider the intersection of points of view in the story. First, let's look at the image of the narrator.
What kind of person is he? What kind of imagination does he have?
What influenced the formation of the “romantic” imagination of the young officer?
Prove with text that our narrator is a book lover. (“...The number of books I found under the cabinets and in the pantry were memorized. All the fairy tales that the housekeeper Kirillovna could remember were retold to me”; in the count’s estate, in the office the narrator sees “cabinets with books”, and this is the first thing he pays attention to.)
It can be assumed that most of the books the officer read were of romantic content. Let us remember that it is no coincidence that Pushkin writes “Belkin’s Tale” as a kind of parody of contemporary literature.
And this dreamy, romantically inclined young officer meets Silvio.
How does he see Silvio? Why? What's the mystery?
(The hero of some mysterious story, since Silvio keeps to himself; no one knows anything about his past; he has a strong character, but does not strive for obvious leadership. And the officer’s imagination paints a romantic image.)
And what about Silvio himself? How does he evaluate himself at the beginning of his story? (Students read the passage.) What words does he use to describe his behavior?
(Sharp, extreme: “riot”, “enraged me”, “I hated”, “excitement of anger”.)
What kind of person does Silvio consider himself to be? And is this really so? Is he right?
(Exceptional, special, worthy of leadership, but in fact he acts as it was fashionable, just remember the beginning of his own story about himself. Silvio evaluates himself according to literary models, for example, he boastfully declares that he outdrew the famous drunkard whom Denis Davydov sang .)
So Silvio want to be exceptional, and this is precisely the kind of person the narrator perceives him to be. But maybe Count Silvio seems quite ordinary? Let's turn to the second part of the story.
How does Silvio appear before the count? Read the passage and comment on it. Find details in the text that show that Silvio terrifies the count.
(“...I saw a man in the darkness, covered in dust and overgrown with a beard; he was standing near the fireplace.” Silvio seems to the Count to be an inexplicable villain, perhaps a demon or the devil - he has a characteristic appearance for this.)
From all that has been said, we can conclude that the Count also romantically elevates Silvio.
How do these heroes feel about the duel? What is a duel to them?
(Defense of honor. The duel is glorified in novels.)
Please note: neither the officer-narrator nor the count doubt Silvio’s right to a duel. But it’s not honor that Silvio is trying to defend, but his painful ambition.
But in the story there is a person who does not share the poetic point of view on the duel. This is Ivan Petrovich Belkin. He allegedly wrote down the story of Lieutenant Colonel I.L.P., and prefaced this story with epigraphs. Let's read them and try to explain: why there are two epigraphs and what idea they are intended to reflect.
The first epigraph was written by the poet E.A. Baratynsky.
Remember what is characteristic of lyrics, lyrical works?
(Emotions, feelings, experiences.)
What line does this epigraph reflect?
(Poetic, emotional - insult, revenge, duel as the only means of saving honor.)
The second epigraph is taken from the epic work of Bestuzhev-Marlinsky.
What is the focus of epic works?
What words in the epigraph will be key?
(“...to shoot... by the right of a duel.” To shoot means to kill.)
It's romantic? What is a duel from the point of view of the second epigraph, and therefore from the point of view of Belkin?
(Legalized murder.)
So, two epigraphs - two different assessments of the duel, two different views of Silvio.
And what about Pushkin? How does he evaluate his hero? Is it possible to talk about the direct author's position in the story?
(No, the extensive system of narrators does not allow the author to directly express his point of view.)
And yet Pushkin gives us a hint. And this clue is in the composition of the story.
What is a composition? What is special about the composition of the story “The Shot”?
What is the name of the technique of deliberately breaking the chronological sequence of events? For what purpose does Pushkin use inversion in plotting?
(To create tension first, to make you believe in a romantic situation, in the romantic aura that surrounds the hero, and then to resolve everything simply and happily, in a real setting, leaving no room for any mysteries.)
III. Generalization
So is Silvio a romantic hero? (Students express their opinions.)
F.M. Dostoevsky was convinced: “Man is a mystery.” And indeed, a person, due to the infinity of his capabilities, is a mystery not only to others, but also to himself. Silvio, who drove himself into the trap of his own ambitious aspirations, still turned out to be more complex than literary traditions. This is exactly what Pushkin asserts in Belkin’s Tales.
Please note: at the end of the topic of our lesson there is not a period, but a question mark - as an invitation to think. There are no clear answers or assessments in the literature.
At the end of the lesson, it should be recalled that Pushkin himself highly valued a heightened sense of self-esteem in people, but only if it is compatible with attention to and respect for other people.
IV. Homework
1. Essay-reasoning “What won in Silvio’s soul at the end of the story?”
2. Creative task from the textbook: compare the stories “Shot” and “Blizzard”; think about what they have in common (characters, plot devices, narrators, etc.).
Silvio - main character the story “The Shot”, which was written by the famous Russian writer Alexander Sergeevich Pushkin. From the very beginning, the narrator introduces him to us as a romantic nature. He is noble, honest and strong man who is ready to confront the whole world.
A romantic hero always has a secret that weighs him down and prevents him from being happy. Such a person seems to be shrouded in an aura of mystery. However, usually the hero's life ends tragically due to the lack of strength to survive in the world of evil.
Pushkin endows Silvio with all the necessary traits and qualities that make him a romantic hero. First of all, this is demonstrated in the description of the portrait. The young man is sharp-tongued, gloomy and has a bad temper. He is not like other officers; he stands out significantly against their background. Silvio leads a strange lifestyle by the standards of those around him. He is thirty-five years old, and he communicates only with the military. Young officers respected the main character for his masterly hits on target. He was known as the best shooter.
Every romantic hero has his own secret, and Silvio had one too. This riddle became an obsession throughout his life. One day Silvio told his secret to a storyteller with whom he had an affair. a good relationship. It turns out that once upon a time our hero refused a duel with an opponent who insulted him. It was clear to everyone that he could win, since no one shoots better than him. Everyone was perplexed and wondered why Silvio behaved the way he did.
When talking with the narrator, the main character was extremely honest. He explained that he did so not for noble reasons, but because of obligations that he had to fulfill. That is why Silvio had no right to risk his own life.
As it turned out, several years later, he served as a hussar in the regiment. Everyone admired him and listened to him until a handsome, successful and rich enemy came to the regiment. Silvio was jealous of him because he had a competitor. It seemed to the main character that his opponent had taken his place and therefore our hussar was looking for a reason to quarrel with him. Soon, at the ball, he was rude to the count and, according to the rules of that time, a duel should have taken place. The opponent fired first, and it hit Silvio’s cap. When it was the turn of the main character, the count stood calmly and ate cherries. This behavior hurt the hussar, because he wanted to hurt the enemy and make him suffer. Therefore, Silvio decided to postpone the shot until a better moment.
After many years, the main character had a chance to take revenge on the enemy and use his shot. However, here he decided to give his opponent one more shot. As fate would have it, the Count shoots first again, but he ends up in the picture. When it was Silvio's turn, the enemy's wife burst into the room, asking her to leave her husband alive. Seeing the frightened and humiliated count, the main character achieved his goal. So we see best features character. He did not shoot the unarmed man and left him alive. It was enough for him to see the moral torment of his opponent.
Silvio's life ended like all romantic heroes. He died in Greece, where he was the head of a liberation detachment. The feeling of envy and the desire for revenge make our character a real person, but in the mask of romanticism. The romantic hero is always strong, so he cannot allow anyone to be better than him.
The story “Shot” opens “Belkin’s Stories” by A. S. Pushkin. It tells about a seemingly insignificant incident in the life of the main character. Long years he sought revenge on one person. As a result, when such an opportunity presented itself to him, the hero refused it. This main character is Silvio. We meet him at the very beginning of the story. The narrator introduces him to us as a romantic hero. IN romantic literature there is a certain type of hero. This is a man, noble, strong and honest, who confronts the world around him. Often this hero acts in exotic setting, performs heroic deeds. The portrait of a romantic hero is also created in romantic tones. He often has masculine facial features and romantic pallor. The romantic hero is always shrouded in an aura of mystery, some kind of mystery trails behind him. He may have a sad or tragic secret in his past that weighs on his soul and does not allow him to be happy. As a rule, the life of a romantic hero ends tragically. He dies because he does not have the strength to live in a world of evil, deception and vulgarity. Silvio is written as a romantic hero. This is confirmed by his portrait: “his usual gloominess, tough disposition and evil tongue, leads a strange lifestyle. Not being a military man, he communicates only with them, lives wastefully and meagerly at the same time. Silvio had one trait that can be called talent and for which the young officers respected him so much. This hero was a masterful shooter, always hitting the target from any position. Silvio also had his own secret, which determined his whole life and became his obsession. Silvio told this secret to the narrator, for whom he had sincere sympathy. Being marksman, the hero refused a duel with the officer who insulted him. Everyone in the garrison was perplexed: why did Silvio do this? In a conversation with the narrator, he explained that he did not shoot himself out of noble motives. Of course, the hero could easily shoot his opponent. But he did not do this because he believed that he had a duty, an obligation that he must fulfill. Therefore, the hero has no right to risk his life. hero. He couldn't just shoot an unarmed man. The opponents again cast lots, and the count again shot first. His bullet pierced the painting. Fate prevented Silvio from shooting.
Can. He acted nobly and did not shoot, although he could have. Silvio is written as a romantic hero. This is confirmed by his portrait: “his usual gloominess, harsh disposition and evil tongue had a strong influence on our young minds.” Silvio is different from the officers around him and stands out from the crowd. He is about thirty-five years old and, by the standards of ordinary people, leads a strange lifestyle. Not being a military man, he communicates only with them, lives wastefully and meagerly at the same time. Silvio had one trait that can be called talent and for which the young officers respected him so much. This hero was a masterful shooter, always hitting the target from any position. Silvio also had his own secret, which determined his whole life and became his obsession. Silvio told this secret to the narrator, for whom he had sincere sympathy. Being a marksman, the hero refused a duel with the officer who insulted him. Everyone in the garrison was perplexed: why did Silvio do this? In a conversation with the narrator, he explained that he did not shoot himself out of noble motives. Of course, the hero could easily shoot his opponent. But he did not do this because he believed that he had a duty, an obligation that he must fulfill. Therefore, the hero has no right to risk his life. As it turned out, in his youth, when Silvio served in the hussar regiment, he had a rival who later became his enemy. This rival was handsome, smart, rich, witty, successful in all matters. Silvio envied him because he was always used to being first in everything: “I hated him. His successes in the regiment and in the society of women led me to complete despair.” This young man took his place. At least that's what Silvio thought. Therefore, he did not accept any signs of friendship or reconciliation from the count. Silvio was deliberately looking for a quarrel with him. Finally, he achieved his goal: he was rude to the count at the ball. A duel was scheduled. The right to fire the first shot fell to Silvio's opponent. He took aim and hit the hero's cap. It was Silvio's turn to shoot. But the count behaved so calmly and at ease, eating cherries while awaiting his fate. Silvio most of all wanted to hurt his opponent, to hurt him, so that he would suffer spiritually in the same way as the hero himself. In the duel he did not have such an opportunity. Silvio still had his shot. He was waiting for an opportunity to take revenge. And now, many years later, his expectation came true. In the scene of the second duel, all the positive qualities of the hero are revealed. He couldn't just shoot an unarmed man. The opponents again cast lots, and the count again shot first. His bullet pierced the painting. Fate prevented Silvio from shooting. He saw the count frightened, confused, humiliated. This was more than enough for the hero. He had achieved his goal, so he no longer had to shoot. Silvio tells the count: “I won’t... I’m pleased: I saw your confusion, your timidity; I made you shoot at me, I've had enough. You will remember me. I commend you to your conscience."
He saw the count frightened, confused, humiliated. This was more than enough for the hero. He had achieved his goal, so he no longer had to shoot. Silvio tells the count: “I won’t... I’m pleased: I saw your confusion, your timidity; I made you shoot at me, I've had enough. You will remember me. I commend you to your conscience."
Silvio's life ended tragically. He died, and his death is also shrouded in a romantic aura. The hero was killed in Greece, where he led a liberation detachment.
Silvio is a romantic hero, but the core of his character is realistic. What motivated him? Thirst for revenge and envy. He couldn't handle the fact that someone was better than him. This is weakness, and the romantic hero is always strong. Therefore, behind the mask of romanticism in this image there is a realistic character.
STORIES OF THE LATE IVAN PETROVICH BELKIN(1830; publ. 1831) SHOT Silvio
- a thirty-five-year-old dueling officer obsessed with the idea of revenge. 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 briter of that time, I.P. Liprandi; The narration is told 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 S.’s image is consistently reflected in a variety of mirrors, as if passed through complex system(“Silvio” is the sound analogue of the “real” name, chosen by the narrator). He lives both poorly and wastefully. In a mud hut (!) he keeps a collection of pistols; shoots at walls; unusually accurate; and most importantly - gloomy and proud. But as soon as the new officer quarrels with S. over cards, 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 unexpected “timidity”; this becomes the finale of the exposition and the plot of the plot. S. considers it necessary to explain himself before saying goodbye; it turns out that he “has no right” to expose himself to the 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 S.’s bullet. S.’s cap was shot an inch from the forehead; he left his shot behind him (the motif of a “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 the social envy of the “romantic” hero towards the “lucky idle man” (the same motive will be developed in “The Queen of Spades” and “ Bronze Horseman"). They introduce - and deprive the hero of his mysterious aura. 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 the complex “behavioral mask,” the vulgar unambiguity of the spiritual appearance is revealed.
And further, the image of S. will be simplified the more, the more intricate and even sophisticated his actions and gestures are. Having found Count R*** on the estate, where he had gone on Honeymoon, the duelist suddenly appears in the newlywed's office - and, having enjoyed the effect, "noblely" offers to cast lots again - so that everything does not look like murder. But the ostentatious nobility of his gesture is immediately shaded by meanness; S. again, as in the case of 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 painting (bullet after bullet), and not at the happy count, does not change anything... For he has already paid with dishonor for the implementation of his “romantic” (and S. is a lover of novels) plan.
The plot conceived by S is resolved; the plot of life itself continues (for it is always open, incomplete). But there is no longer room for S. in it; Having taken revenge, he lost his only goal - and, according to rumors, he died in the “romantic” battle of the Greek-Eterists for independence, to be buried in the cemetery near Skulany. (Like Pushkin’s lyceum classmate Broglio, whose appearance and whose name are suspiciously close to the hero of “The Shot.”) Moreover, near Skulany, 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 the shooter S. did not die from a shot - and his last enemies did not die from shots. The bullet he put into the idyllic “Swiss” picture turned out to be “metaphysically the last.” And the happiness of the “undeserved” lucky man, the darling of fate of Count R***, continues, even if overshadowed by what happened.
