''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
- 283 - Sebastian Knight, for example, and Pale Fire, where the artist was seen to be capable of insights that the ordinary man does not have, the "closed circle of reliable land" is formed by art, and the novel the reader is holding in his hands is another demonstration and proof of this. It lays open the failings of the ordinary human mind but suggests ways of overcoming them. It poses questions and pursues them to a point where they seem unanswerable, but it has the answer ready and offers solutions where the ordinary mind might be overcome by doubts. The author creates a moment of the utmost uncertainty, but holds out a helping hand and offers insights that restore certainty. After almost pushing the reader over the brink of an abyss, he helps him regain the circle of reli- able land. It might be objected to all this that the whole is after all something invented, a novel, in which the author figures prominently as an omniscient person. The so-called insights might be considered as no more than the evidence of his omniscience, the result of a convention, and thus parts of his invention. The author's omniscience is of course apparent from the first. He knows all about Hugh, about his past, his thoughts, memories and dreams. He knows where Hugh's memories are erroneous and ie corrects them. He can explain and account for incidents that have only a very loose connection, or none at all, with Person's story. He comments on irrelevant matters just to show that he knows everything (13,25). At cer-
- 284 - tain moments he positively flaunts his omniscience. He explicitly draws the reader's attention to his own presence and his own doings and allows glimpses of his narrative tricks and techniques: "Now we have to bring into focus the main street of Witt... ", he opens one chapter and then proceeds to do just that (44). He leaves no doubt that he is the one to decide what is interesting and worth noting (42). The most conspicuous instances are those in which he frankly manipulates his main character. He selects the main character in the first sentence of the novel and gives him no chance to escape: "Here's the person I want" (1). At another moment he decides that Hugh should not recognize a certain letter because he might feel hurt if he did (38), and later on he even admits that it might not be impossible for him to influence Hugh so as to induce him to take or avoid a certain course of action (92). As so often before, then, Nabokov quite candidly exposes what he is telling as a piece of art and allows the reader many insights into the devices of his craft. Tranparent Things is certainly in part what Herbert Grabes sees in it: "... ein Buch über das Verhältnis des 'allwissenden' Autors zu seinen Ge- schöpfen. 13 But then Hugh's story could not have been invented and written if the author had not had the gifts and insights that he has been seen to have. The piece of art explains and exposes the gifts that made its creation possible, or, to put it in the inverted manner
- Page 239 and 240: - 232 - "Parents" (1,71), "my bedro
- Page 241 and 242: - 234 - commentary, and they also o
- Page 243 and 244: - 236 - forbidden knowledge of whic
- 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
- Page 251 and 252: - 244 - emerges that the man whom h
- Page 253 and 254: - 246 - sions, shows that even the
- Page 255 and 256: - 248 - superficially is about. He
- 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
- Page 263 and 264: - 256 - is left-handed (180) and he
- Page 265 and 266: - 258 - The sea's a thief, whose li
- Page 267 and 268: - 260 - much a person even on the l
- 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
- Page 275 and 276: - 268 - the name as if it were simp
- Page 277 and 278: - 270- Armande that has brought him
- Page 279 and 280: - 272 - a conscious effort. Things
- Page 281 and 282: - 274 - intention either to convey
- Page 283 and 284: - 276 - past with utmost precision
- Page 285 and 286: - 278 - Hugh Person ignores a vague
- Page 287 and 288: - 280 - the wall which in his wakin
- Page 289: - 282 - thus opening the view into
- Page 293 and 294: - 286 - We thought that he had in h
- Page 295 and 296: - 288 - The thought throws more lig
- Page 297 and 298: - 290 - That Nabokov does consider
- Page 299 and 300: - 292 - which strangely prefigures
- Page 301 and 302: - 294 - become no doubt a new bible
- Page 303 and 304: - 296 - It probably is Mr. R. 's ph
- Page 305 and 306: - 298 - DESPAIR Despair1, though wr
- Page 307 and 308: - 300 - rendering a certain sound t
- Page 309 and 310: - 302 - I have grown much too used
- Page 311 and 312: - 304 - dimensions of artistic crea
- Page 313 and 314: - 306 - when he starts writing his
- Page 315 and 316: - 308 - in its capability of photog
- Page 317 and 318: - 310- next morning, none would bel
- Page 319 and 320: - 312 - To the end, then, he remain
- Page 321 and 322: - 314 - tangible double of himself,
- Page 323 and 324: - 316 - this attack of his second s
- Page 325 and 326: - 318 - ... the ruddy horror of my
- Page 327 and 328: - 320 - only a limited number of su
- Page 329 and 330: - 321 - BENDSINISTER INVITATIONTOAB
- Page 331 and 332: - 323 - the Dark Comedies of the Tw
- Page 333 and 334: - 325 - and that one has first to p
- Page 335 and 336: - 327 - the absurd fate he himself
- Page 337 and 338: - 329 - perhaps in some archaic let
- Page 339 and 340: - 331 - this fantasy with bits of L
-<br />
283<br />
-<br />
Sebastian Knight, <strong>for</strong> example, and Pale Fire, where<br />
the artist was seen to be capable of insights that the<br />
ordinary man does not have, the "closed circle of<br />
reliable land" is <strong>for</strong>med by art, and the novel the<br />
reader is holding in his hands is another demonstration<br />
and proof of this. It lays open the failings of<br />
the ordinary human mind but suggests ways of overcoming<br />
them. It poses questions and pursues them to<br />
a point where they seem unanswerable, but it has the<br />
answer ready and offers solutions where the ordinary<br />
mind might be overcome by doubts. The author creates<br />
a moment of the utmost uncertainty, but holds out a<br />
helping hand and offers insights that restore certainty.<br />
After almost pushing the reader over the brink<br />
of an abyss, he helps him regain the circle of reli-<br />
able<br />
land.<br />
It might be objected to all this that the whole is<br />
after all something invented, a novel, in which the<br />
author figures prominently as an omniscient person.<br />
The so-called insights might be considered as no more<br />
than the evidence of his omniscience, the result of<br />
a convention, and thus parts of his invention.<br />
The author's omniscience is of course apparent<br />
from the first. He knows all about Hugh, about his<br />
past, his thoughts, memories and dreams. He knows<br />
where Hugh's memories are erroneous and ie corrects<br />
them. He can explain and account <strong>for</strong> incidents that<br />
have only a very loose connection, or none at all,<br />
with Person's story. He comments on irrelevant matters<br />
just to show that he knows everything (13,25). At cer-