''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
- 273 - butchered, a shot of the butcher, a shot of the shepherd, a shot of the shepherd's father, a Mexican" (7). It is tempting to look at the people who produced it, and their histories might in turn provoke fascinating "side trip[s] of inspection" (7). Its history takes one away in space and back in time. One might go back as far as "Shakespeare's birth year when pencil lead was discovered" (7). This looks like a logical development of the method pursued in Pale Fire, where it was shown how, over the period of a few weeks, the lives of Shade and Gradus followed two lines that gradually converged and finally met at the moment of Shade's death. The pattern evolved here is infinitely more complex because of the many lines that are at least tentatively followed, and the innumerable lines that might be followed and traced until they all met at the precise moment at which the pencil is being considered. If the method were. consistently pursued, if one were really tempted, for example, to look into the histories of the butcher, the shepherd, the cutter; to follow the development of the power saw; to follow, as the author suggests, the "complicated fate of the shavings", which are by now "reduced to atoms" and widely dispersed; if, in short, one were to follow all the complicated and complex interrelationships that are visible on all sides, then the result would indeed be "panic catching its breath" (7). To produce this result is not the author's intention. And, if one believes Nabokov, it is not his
- 274 - intention either to convey the impression that "seeing through things is the professional function of a novelist", for "a novelist is, like all mortals, more fully at home on the surface of the present than in the ooze of the past. "6 What the example should do is to convey an idea of what a novelist is capable of. It demonstrates what intricate and complex patterns of interrelations between seemingly disparate things he can perceive behind the simplest and most inconspicuous object and its "thin veneer of immediate reality", which is by the common observer taken to be its only reality. An old pencil gives rise to speculations and grants insights that might in the end comprehend the whole "world that Jack built" (8). The example shows by contrast why Hugh Person does not succeed in his quest. His problem is that "actuality and memory fail to coincide"7, and, one should add, that actuality gets between him and his memories. The present condition of the pencil, its shape, colour and length, is no obstacle for the artist in his pursuit of its history and everything that is even remotely connected with it. For Hugh, an ordinary man, the present condition of things is an obstacle with which he cannot cope. The new colours of shutters and houses (Villa Nastia is now painted blue), the fact that there are new houses and roads%changing the surroundings, all those thin veneers through which the artist can see easily, combine and seem to form a solid opaque wall which screens the past from his
- Page 229 and 230: - 222 - for the overall comic effec
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- Page 237 and 238: - 230 - (24-25). He talks about how
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- Page 247 and 248: - 240 - following the road of its r
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- Page 285 and 286: - 278 - Hugh Person ignores a vague
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- Page 291 and 292: - 284 - tain moments he positively
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- Page 299 and 300: - 292 - which strangely prefigures
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- Page 303 and 304: - 296 - It probably is Mr. R. 's ph
- Page 305 and 306: - 298 - DESPAIR Despair1, though wr
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- 274 -<br />
intention either to convey the impression that "seeing<br />
through things is the professional function of a<br />
novelist", <strong>for</strong> "a novelist is, like all mortals, more<br />
fully at home on the surface of the present than in<br />
the ooze of the past. "6 What the example should do is<br />
to convey an idea of what a novelist is capable of.<br />
It demonstrates what intricate and complex patterns<br />
of interrelations between seemingly disparate things<br />
he can perceive behind the simplest and most inconspicuous<br />
object and its "thin veneer of immediate reality",<br />
which is by the common observer taken to be its only<br />
reality. An old pencil gives rise to speculations and<br />
grants insights that might in the end comprehend the<br />
whole "world that Jack built" (8).<br />
The example shows by contrast why Hugh Person does<br />
not succeed in his quest. His problem is that "actuality<br />
and memory fail to coincide"7, and, one should add,<br />
that actuality gets between him and his memories. The<br />
present condition of the pencil, its shape, colour<br />
and length, is no obstacle <strong>for</strong> the artist in his pursuit<br />
of its history and everything that is even remotely<br />
connected with it. For Hugh, an ordinary man,<br />
the present condition of things is an obstacle with<br />
which he cannot cope. The new colours of shutters<br />
and houses (Villa Nastia is now painted blue), the<br />
fact that there are new houses and roads%changing the<br />
surroundings, all those thin veneers through which<br />
the artist can see easily, combine and seem to <strong>for</strong>m<br />
a solid opaque wall which screens the past from his