Characteristics of Sancho Panza with quotes. Sancho Panza

Miguel Cervantes' novel "The Cunning Hidalgo Don Quixote of La Mancha", Don Quixote's squire. Throughout the novel, he actively uses proverbs in his speech, which are integral part so-called sanchisms- monologues spoken by Sancho. The surname Panza (spelled Panza in Spanish) means "belly." In Spanish literary criticism he is considered as the personification of the Spanish people (Unamuno).

The image of Sancho Panza in the first part

Sancho Panza was a simple peasant farmer on the lands of Alonso Quijano, was married and had two children. Lured by Don Quixote's promises to make him a future count and governor of the island, Sancho agrees to accompany him as a squire. Not believing in Don Quixote's dreams and mirages, Sancho often shows common sense in his speeches and tries to dissuade Don Quixote from the most reckless exploits. However, he willingly takes advantage of the benefits of knighthood errant. He is cunning and often tries to gain benefits through deception. Considering that Don Quixote is not himself, he nevertheless respects him for his intelligence and education.

The image of Sancho Panza in the second part

In the second part of the book, Sancho changes, becoming smarter and more reasonable. Having received advice from Don Quixote, Sancho, appointed governor as a joke, governs honestly and intelligently and expresses himself elegantly. But then he realizes that power is not for him, and voluntarily leaves his post. However, those around him, considering Sancho crazy too, laugh and joke at him, sometimes cruelly, because he is naive and believes a lot. At the end of the book, Sancho sincerely regrets the death of Don Quixote, but at the same time he is glad that he still earned money.

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Excerpt characterizing Sancho Panza

Pierre blushed and hesitated.
“Then a patrol arrived, and all those who were not robbed, all the men were taken away. And me.
– You probably don’t tell everything; “You must have done something…” Natasha said and paused, “good.”
Pierre continued to talk further. When he talked about the execution, he wanted to bypass scary details; but Natasha demanded that he not miss anything.
Pierre started to talk about Karataev (he had already gotten up from the table and was walking around, Natasha was watching him with her eyes) and stopped.
- No, you cannot understand what I learned from this illiterate man - a fool.
“No, no, speak up,” said Natasha. - Where is he?
“He was killed almost in front of me.” - And Pierre began to tell Lately their retreats, Karataev’s illness (his voice trembled incessantly) and his death.
Pierre told his adventures as he had never told them to anyone before, as he had never recalled them to himself. He now saw, as it were, a new meaning in everything that he had experienced. Now, when he was telling all this to Natasha, he experienced that rare pleasure that women give when listening to a man - not smart women who, while listening, try to either remember what they are told in order to enrich their mind and, on occasion, retell the same or adapt what is being told to their own and quickly communicate their clever speeches developed in their small mental economy; but the pleasure that real women give, gifted with the ability to select and absorb into themselves all the best that exists in the manifestations of a man. Natasha, without knowing it herself, was all attention: she did not miss a word, a hesitation in her voice, a glance, a twitch of a facial muscle, or a gesture from Pierre. She caught the unspoken word on the fly and directly brought it into her open heart, guessing secret meaning all Pierre's spiritual work.

Sancho Panza

SANCHO PANSA (Spanish Sancho Pansa; “pansa” - belly, belly, belly) - central character Miguel de Cervantes Saavedra's novel “The Cunning Hidalgo Don Quixote of La Mancha” (first volume - 1605; second - 1615). Seduced by Don Quixote's promise to receive one of the conquered islands as a gift and become governor, poor peasant S.P. leaves his wife and children and, as a squire, goes with Don Quixote in search of adventure. Together with his owner S.P. experiences many events and witnesses his exploits. On the one hand, S.P. considers Don Quixote crazy, on the other hand, he honors the knight as one of the most prudent and educated people, innocently believing his stories. The squire gets no less than his master: he is often beaten, he is robbed; those around him make fun of him, considering him the same eccentric as Don Quixote. Throughout the entire novel, the Knight of the Sorrowful Countenance and his squire remain inseparable, with the exception of the moment when the Duke and his wife realize S.P.’s long-standing dream. - become the governor of the island. Don Quixote and S.P. often contrasted with each other: the portly and food-loving S.P. not only outwardly the complete opposite of his lanky and thin owner. In contrast to Don Quixote, he personifies common sense and everyday ingenuity. However, the “sanity” of S.P. does not prevent him from being Don Quixote's companion, friend and main interlocutor, an accomplice in many of his exploits. Image of S.P. is genetically connected with the folk culture of laughter (it is no coincidence that in one of the episodes of the novel, jokers throw S.P. on a blanket - like a stuffed animal or a dog during the celebration of carnival in Spain) and forms the same typological series with such characters as Panurge and Falstaff. S.P. the high ideals of Don Quixote's chivalry are alien. He is guided rather by considerations material benefit. S.P. often deceives its owner in order to avoid blows and troubles. In the scene with three peasant women whom S.P. passes off Dulcinea and her retinue as Dulcinea, the hero deliberately misleads Don Quixote, describing to the embarrassed owner the beauty and beautiful attire of noble ladies. When Don Quixote demands that his squire scourge himself, S.P. strikes beech trees. During the course of the novel, S.P. adopts many of Don Quixote's traits and sometimes begins to reason like his master. During his governorship on the fictional and created by the Duke island of Barataria, the uncouth and simple-minded S.P., remembering the instructions of Don Quixote, reveals himself as an honest and wise ruler and amazes everyone with his in a refined manner express. Considering that the position of governor is not for him, that he will not be able to protect the island from the invasion of enemies, because the peasant’s job is to plow the land, S.P. returns to the service of Don Quixote. According to him, he is regaining his former freedom, because... Serving with his master is not a compulsion for him, as the governorship turned out to be. In criticism, the image of S.P. is most often considered in connection with the image of Don Quixote (an expressive example is the point of view on S.P. Turgenev and Dostoevsky). In Spanish literature of the early 20th century. image of S.P. interpreted as the personification of the nation. Contact with the ideal (Don Quixote) elevates common man, and the future of Spain depends on the “quixoticization” of Sancho the people (Unamuno).

All characteristics in alphabetical order:

– Sancho Panza, a peasant accompanying Don Quixote as a “squire.”

It's alive and bright image a man of the people, portrayed realistically and warmly by Cervantes. The soul of a peasant owner lives in Sancho; he constantly dreams of sudden enrichment. His sober assessments, which take into account primarily material interest in everything, constantly oppose the idealistic dreams of Don Quixote. For example, when Don Quixote fantasizes about the “golden helmet” he obtained, Sancho remarks: “By God, a good basin: this should cost at least eight reals.” And his entire dense figure riding a donkey contrasts sharply with the appearance of a tall and skinny knight.

Don Quixote. Feature Film, 1957

The human type resembling Sancho has precedents in medieval literature. In the French heroic epic there is a comic type of squire-merry fellow, talker and glutton, later parodically developed by Pulci in the image of Margutte. But Cervantes turned this insignificant grotesque figure into a complex, deeply realistic image, very important for general plan novel. At first glance, Sancho is the complete opposite of his master: while Don Quixote, exhausting himself physically, longs to work disinterestedly for the benefit of humanity, Panzo first of all tries to please his flesh and serve himself.

He loves to sleep and eat most of all (his very name is expressive: panza in Spanish means “belly”), he wants to become a count and governor, he wants his wife Teresa Panza to ride in a gilded carriage. Dreaming of how he will become a ruler, Sancho Panza asks if he can sell all his subjects into slavery and put the money in his pocket. He is all about practice, in the present, while Don Quixote is all about the dream of the past, which he wants to revive.

But at the same time, there is a deep internal similarity between them. Each trait in the character or actions of one corresponds to the opposite, but at the same time related trait of the other. Both of them - although each in their own way - are distinguished by great kindness, responsiveness, humanity, carelessness in life, purity of heart, and energy. Both are complements to each other. Both, carried away by their fantasies, break away from their family and peaceful healthy life to go around the world in search of luck, and both are eventually cured of their delusions, convinced that they were at the mercy of mirages.

Sancho clearly embodies wisdom and humanity common people. No wonder his speech is sprinkled with proverbs - the expression folk wisdom. His hopes for wealth are gradually replaced by a selfless attachment to Don Quixote.

For the sake of the Duke’s amusement, Sancho is promoted to “governor of the island” and is subjected to all sorts of comic tests: for example, at dinner, at the sign of the “doctor,” all the dishes are taken away from him one after another as “harmful.” However, as a ruler and judge, Sancho reveals genuine folk wisdom, which is fully consistent with the humane instructions of Don Quixote. He does not allow himself to be called “Don” Sancho Panza (“Don” is a particle denoting nobility) and promises to “get rid of” “all these dons and rasprodons.” In his gubernatorial position, Sancho is selfless.

The natural abilities of Sancho Panza were most clearly manifested in his famous "courts," as well as in his entire "government of the island," during which he showed much more intelligence and justice than all the courtiers around him. A true moral triumph are his last words when leaving the post of governor: “Make way, my lords! Let me return to my former freedom, allow me to return to my former life, so that I can rise from my current coffin... Stay with God, your graces, and tell the lord duke that I was born naked, I managed to live my whole life naked : I want to say that I took up the post of governor penniless and am leaving it penniless - in contrast to how governors usually leave the islands... Let those very ant wings remain here in the stable, which are bad luck They lifted me up so that I could be pecked by swifts and other birds, but we’d better go down to the ground and simply walk on it with our feet.”

In general, both for Don Quixote, knightly undertakings, and for Sancho Panza, his dreams of enrichment are only a temporary borrowed shell, deeply alien to their nature. Both of them are the noblest representatives of the Spanish people. If the madcap Don Quixote is the bearer of the highest humane ideas, then the simple-minded, merry fellow Sancho Panza is the embodiment of folk wisdom and moral health.

SANCHO PANSA (Spanish: Sancho Pansa; “pansa” - belly, belly, belly) is the central character of Miguel de Cervantes Saavedra’s novel “The Cunning Hidalgo Don Quixote of La Mancha” (first volume - 1605; second - 1615). Seduced by Don Quixote's promise to receive one of the conquered islands as a gift and become governor, poor peasant S.P. leaves his wife and children and, as a squire, goes with Don Quixote in search of adventure. Together with his owner S.P. experiences many events and witnesses his exploits. On the one hand, S.P. considers Don Quixote crazy, on the other hand, he respects the knight as one of the most prudent and educated people, innocently believing his stories. The squire gets no less than his master: he is often beaten, he is robbed; those around him make fun of him, considering him the same eccentric as Don Quixote. Throughout the entire novel, the Knight of the Sorrowful Countenance and his squire remain inseparable, with the exception of the moment when the Duke and his wife realize S.P.’s long-standing dream. - become the governor of the island. Don Quixote and S.P. often contrasted with each other: the portly and food-loving S.P. not only outwardly the complete opposite of his lanky and thin owner. In contrast to Don Quixote, he personifies common sense and everyday ingenuity. However, the “sanity” of S.P. does not prevent him from being Don Quixote's companion, friend and main interlocutor, an accomplice in many of his exploits. Image of S.P. is genetically connected with the folk culture of laughter (it is no coincidence that in one of the episodes of the novel, jokers throw S.P. on a blanket - like a stuffed animal or a dog during the celebration of carnival in Spain) and forms the same typological series with such characters as Panurge and Falstaff. S.P. the high ideals of Don Quixote's chivalry are alien. He is guided rather by considerations of material gain. S.P. often deceives its owner in order to avoid blows and troubles. In the scene with three peasant women whom S.P. passes off Dulcinea and her retinue as Dulcinea, the hero deliberately misleads Don Quixote, describing to the embarrassed owner the beauty and beautiful attire of noble ladies. When Don Quixote demands that his squire scourge himself, S.P. strikes beech trees. During the course of the novel, S.P. adopts many of Don Quixote's traits and sometimes begins to reason like his master. During his governorship on the fictional and created by the Duke island of Barataria, the uncouth and simple-minded S.P., remembering the instructions of Don Quixote, reveals himself as an honest and wise ruler and amazes everyone with his refined manner of expression. Considering that the position of governor is not for him, that he will not be able to protect the island from the invasion of enemies, because the peasant’s job is to plow the land, S.P. returns to the service of Don Quixote. According to him, he is regaining his former freedom, because... Serving with his master is not a compulsion for him, as the governorship turned out to be. In criticism, the image of S.P. is most often considered in connection with the image of Don Quixote (an expressive example is the point of view on S.P. Turgenev and Dostoevsky). In Spanish literature of the early 20th century. image of S.P. interpreted as the personification of the nation. Contact with the ideal (Don Quixote) elevates the common man, and the future of Spain (Unamuno) depends on the “quixoticization” of Sancho the people.

It was not for nothing that Cervantes was burned yes, yes. At the beginning of this film, the priest and the pharmacist send all the books about knights to the fire, not forgetting the creation of Cervantes as an appetizer. Here is a wonderful hint from the screenwriters about what the fireproof classic will turn into thanks to their dissolutely superficial work on this film.

If we briefly retell the book about the valiant knight Don Quixote and his squire, then approximately this film will be released, but -per kilogram smarter, half a kilo more romantic and 200 grams more tragic. The film was a success only in the embodiment of the characters - excellent casting, characterization and temperament at their best. Of course, I was unlucky to find the true Rosinate in the film - the nag is pitiful and skinny like the owner, but these are trifles, against the backdrop of Italian Spain.

There is too much Italian - both the style of the comedy plot (commedia dell'arte) and the characters are more suitable for a farce theater, where Don Quixote is Pierrot, and Sancho Panza is Harlequin. The ode to Malvina (that is, Dulcinea Toboska) sounded almost appropriately and according to the text, but... Dulcinea existed, and then Don Quixote himself admits his abnormality and says that he invented this beautiful lady. What about pizza? Where did the pizza come from on the table of the poor Spanish peasant woman? Perhaps it was the opaque humor in the film.

Too little exalted romanticism. After all, the works of Cervantes are simply imbued with poetic ideals and romantic stories about unhappy lovers. This film should be renamed “Sancho Panza and his lord the Knight of the Sorrowful Countenance called Don Quixote” A bit long, but in the style of Cervantes. Alas, there are a lot of jokes and pantomimes, a lot of absurdities and antics, but there is very little poetry and the sublimity and madness of Don Quixote! There are few misadventures and turning points, few misfortunes and trials. But this is precisely the core of the entire immortal creation, resoluble, like instant coffee in this film, called the film adaptation.

The main and most important scene, the battle with the mills, was frankly cheaply filmed. The scenery is small, implausible, and the editing tore out pieces of the scene. A big minus for the film. It is the theme of the fight against windmills-became a symbol of empty and crazy accomplishments. But the producers didn’t skimp on the eggs—swallowing eggs is the main focus of the film, a kind of cheap clownery to the delight of the public.

I’ll just note a couple of successful moments in the film - the imaginary feast in the barn and Don Quixote’s night watch.

Epilogue. Open and pathetic, even beautifully symbolic. It doesn’t matter that it’s not based on the book, the main thing was to put an exclamation point after the fictional happy ending.