''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
- 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
- Page 183 and 184: - 177 - that lead to it, he is sing
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- Page 189 and 190: - 183 - on the last page of the nov
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- Page 193 and 194: - 187 - would not see him. Somewhat
- Page 195 and 196: - 189 - he falls back on passages f
- Page 197 and 198: - 191 - ticism as one possible way
- Page 199 and 200: - 193 - The passages betray not onl
- Page 201 and 202: - 195 - This "mental jerk" grants k
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- Page 205 and 206: - 199 - initiated the insight. In l
- Page 207 and 208: - 201 - himself, and in it V appear
- Page 209 and 210: - 203 - novels of Sebastian Knight,
- Page 211 and 212: - 205 - All those that knew Sebasti
- Page 213 and 214: - 207 - in his opinion not have for
- Page 215 and 216: - 209 - others as his remoteness an
- Page 217 and 218: - 210 - THEDEFENCE R. H. W. Dillard
- Page 219 and 220: - 212 - his own future, and it beco
- Page 221 and 222: - 214 - Unlike Shade, however, Luzh
- Page 223 and 224: - 216 - has recognized as the basic
- Page 225 and 226: - 218 - The sensitive reader dislik
- Page 227 and 228: - 220 - The individual parts have p
- Page 229 and 230: - 222 - for the overall comic effec
- Page 231 and 232: - 224 - Americans of today. "24 He
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- Page 237 and 238: - 230 - (24-25). He talks about how
- Page 239 and 240: - 232 - "Parents" (1,71), "my bedro
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- Page 245 and 246: - 238 - than he thought it was46: B
- Page 247 and 248: - 240 - following the road of its r
- Page 249 and 250: - 242 - actually sees Kinbote, lose
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- Page 257 and 258: - 250 - "really" Kinbote who has wr
- Page 259 and 260: - 252 - standing' of the poem do no
- Page 261 and 262: - 254 - Shade mentions a famous fil
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- Page 269 and 270: - 262 - In the relationship between
- Page 271 and 272: - 264 - even for his own death. It
- Page 273 and 274: - 266 - TRANSPARENT THINGS An old N
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-<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