''Vladimir Nabokov's Comic Quest for Reality' - Nottingham eTheses

''Vladimir Nabokov's Comic Quest for Reality' - Nottingham eTheses ''Vladimir Nabokov's Comic Quest for Reality' - Nottingham eTheses

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- 227 - denounces mercilessly where he finds them. A. Field quotes Nabokov as telling one reviewer "that Kinbote's remarks on matters such as flora and fauna are all 2 9. ludicrously inept" So are a number of his remarks on literature, in which he misspells and misquotes titles ("Finnigan's Wake" (76), "The Nymph on the Death of Her Fawn" [241]) or gets his quotations wrong (a Seahorse is mentioned in Browning's My Last Duchess, but it is not an ' Untamed Seahorse' [240]). At one point Kinbote quotes even "his" author inaccurately, namely in his note on line 149, where he has "One foot upon a mountain" (137), which is "mountaintop" in the poem. He makes nonsense of the explanations and etymologies of words and names (shootka [221], Botkin [100], Shakespeare [208]). He cannot remember the name of a literary review he refers to (100), he would like to quote a poem but cannot, because he does not have it "at hand" (258). One of the most flagrant proofs of his pseudo-scholarship is the note to line 550 where he admits having made a mistake in an earlier note but refuses to correct it: "that would mean reworking the entire note, or at least a considerable part of it, and I have no time for such stupidities" (228). At other times Kinbote resorts to speculation. Speculation can sometimes not be avoided, in undertakings of this kind and is a legitimate means of trying to come to terms with problems concerning a manuscript or a final text. But it should be used only when all the sources of knowledge have been

- 228 - exhausted. Kinbote uses it from the beginning. It replaces knowledge and serves to cover up his lack of information. It is also purely subjective. It is not deduced from facts, which might give it a shade of probability, but springs from his imagination, is an echo of his own constant preoccupations, and is coloured by his prejudices and preferences respectively. His attachment to certain themes, his dislike of Sybil Shade, and his fond illusions about his relation to the poet are clearly the sources of his thoughts about some drafts preserved by Shade (15-16). There are some very comic moments at which his speculations turn into sheer absurdity, as when the glimpse he catches of the poet's slippered foot (which is all he can see of him when spying on him from his own window) inspires him to draw bold conclusions about the poet's state of mind at that moment (23). In an "orgy of spying" (87), even using binoculars (88), he later draws even wilder conclusions from what he sees. Quite apart from resorting to a very odd and unorthodox method of research (an expression of all editors' desire to find out about their authors, normally, however, kept within proper bounds), he yields to yet another temptation (also quite common in the profession), namely to attach too much importance to trivial details and to see some deep and significant meaning where there is no meaning at all. It is clear that with all this Nabokov is making fun of what he is ostensibly imitating. Even while

-<br />

227<br />

-<br />

denounces mercilessly where he finds them. A. Field<br />

quotes Nabokov as telling one reviewer "that Kinbote's<br />

remarks on matters such as flora and fauna are all<br />

2 9.<br />

ludicrously inept" So are a number of his remarks<br />

on literature, in which he misspells and misquotes<br />

titles ("Finnigan's Wake" (76), "The Nymph on the<br />

Death of Her Fawn" [241])<br />

or gets his quotations wrong<br />

(a Seahorse is mentioned in Browning's My Last<br />

Duchess, but it is not an ' Untamed Seahorse' [240]).<br />

At one point Kinbote quotes even "his" author inaccurately,<br />

namely in his note on line 149, where he has<br />

"One foot upon a mountain" (137), which is "mountaintop"<br />

in the poem. He makes nonsense of the explanations<br />

and etymologies of words and names (shootka<br />

[221], Botkin [100], Shakespeare [208]). He cannot<br />

remember the name of a literary review he refers to<br />

(100), he would like to quote a poem but cannot, because<br />

he does not have it "at hand" (258). One of the<br />

most flagrant proofs of his pseudo-scholarship is the<br />

note to line 550 where he admits having made a mistake<br />

in an earlier note but refuses to correct it:<br />

"that would mean reworking the entire note, or at<br />

least a considerable part of it, and I have no time<br />

<strong>for</strong> such stupidities" (228).<br />

At other times Kinbote resorts to speculation.<br />

Speculation can sometimes not be avoided, in undertakings<br />

of this kind and is a legitimate means of<br />

trying to come to terms with problems concerning a<br />

manuscript or a final text. But it should be used<br />

only when all the sources of knowledge have been

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