The Shot by Alexander Pushkin, 1831
The magic trick:
A narrative structure that builds the story through stories that are told to the narrator
We have a classic for you today, pushing 200 years old. “The Shot” is really three stories in one – that of the narrator, who mainly serves as the emcee of sorts; the story Silvio tells the narrator recalling a duel he once had with the Count; and finally the story the Count tells the narrator recapping the rematch he and Silvio have.
There is mystery and drama in each section, though the stacking of stories within the story makes for what may strike the modern reader as oddly paced. I think we are probably more accustomed to a cold open, a story that grabs us as tense and interesting on the first page before filling in the backstory and additional details.
This story structure builds its narrative with large blocks, and it’s all the stronger for it.
And that’s quite a trick on Pushkin’s part.
The selection:
The guests had departed, and we two were left alone. Sitting down opposite each other, we silently lit our pipes. Silvio seemed greatly troubled; not a trace remained of his former convulsive gayety. The intense pallor of his face, his sparkling eyes, and the thick smoke issuing from his mouth, gave him a truly diabolical appearance. Several minutes elapsed, and then Silvio broke the silence.
“Perhaps we shall never see each other again,” said he; “before we part, I should like to have an explanation with you. You may have observed that I care very little for the opinion of other people, but I like you, and I feel that it would be painful to me to leave you with a wrong impression upon your mind.”
He paused, and began to knock the ashes out of his pipe. I sat gazing silently at the ground.
“You thought it strange,” he continued, “that I did not demand satisfaction from that drunken idiot R—. You will admit, however, that having the choice of weapons, his life was in my hands, while my own was in no great danger. I could ascribe my forbearance to generosity alone, but I will not tell a lie. If I could have chastised R—without the least risk to my own life, I should never have pardoned him.”
I looked at Silvio with astonishment. Such a confession completely astounded me. Silvio continued:
“Exactly so: I have no right to expose myself to death. Six years ago I received a slap in the face, and my enemy still lives.”
My curiosity was greatly excited.
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