''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
- 319 - knew of it were the bare outlines of his personality, two or three chance traits" (186). Like those who see only one aspect of Smurov or of Sebastian, he is unable to see, behind the little he knows of Felix, the complete and complex human being and his soul, to understand this soul, to appropriate it, or to represent it. There remains the possibility to look at this failure exclusively in terms of art. Creating his double, Hermann creates an almost perfect copy of himself. It has already been stated that the production of mere copies is inartistic in itself. But Hermann wants actual copies, and moreover, art consists for him in lifeless copies. It is in a state of "immobility" (17), "in a state of perfect repose" (25) that he finds that Felix's face most resembles his own, and when Felix is dead, ... when all the required features were fixed and frozen, our likeness was such that really I could not say who had been killed, I or he (182). Once more he uses art as an argument to prove his point: "... what is death, if not a face at peace - its ar- tistic perfection? Life only marred my double" (25). Art is for him an equivalent of death, "mere stasis. "24 This being so, it is not surprising that Hermann should be incapable not only of imagining the life of his created person, but even more of instilling into that person a living and complex soul. This life and this soul are not something that Hermann might copy. They are outside his experience and knowledge, and his double therefore remains for him a mere lifeless puppet with
- 320 - only a limited number of such stock responses and habits and views as are traditionally attributed to persons like him. Nabokov quite rightly warns the reader in his Foreword that the plot of the novel "is not quite as familiar as the writer of the rude letter in Chapter Eleven assumes it to be. "25 Its mere surface events, of course are familiar and can be categorized to-' gether with those of Lydia's trashy novels; the connection is actually established several times (34,151). But behind this surface Despair has turned out to be yet another novel about the relation between art and reality and to anticipate much of what Nabokov elaborates on in his much later novels. 11
- 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 and 290: - 282 - thus opening the view into
- Page 291 and 292: - 284 - tain moments he positively
- 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: - 318 - ... the ruddy horror of my
- 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
- Page 341 and 342: - 333 - in the solution it offers.
- Page 343 and 344: - 335 - no more than the strange an
- Page 345 and 346: - 337 - clown (IB, 104-105). And th
- Page 347 and 348: - 339 - of the original still shine
- Page 349 and 350: - 341 - each of them. There is Mart
- Page 351 and 352: - 343 - "cleared his throat and sof
- Page 353 and 354: - 345 - and then perhaps we shall s
- Page 355 and 356: - 347 - our own world , and with it
- Page 357 and 358: - 349 - the river we see him fishin
- Page 359 and 360: - 351 - inspired by a picture on wh
- Page 361 and 362: - 353 - do not conceal them must di
- Page 363 and 364: - 355 - also the only one who can i
- Page 365 and 366: - 357 - (IB, 26) and only his doubl
- Page 367 and 368: - 359 - Cincinnatus no longer what
- Page 369 and 370: - 361 - He speculates about time in
- Page 371 and 372: - 363 - ADA Ada1 has more than any
- Page 373 and 374: - 365 - combine to form the surface
- Page 375 and 376: - 367 - ... a string of stock scene
-<br />
320<br />
-<br />
only a limited number of such stock responses and<br />
habits and views as are traditionally attributed to<br />
persons like him.<br />
Nabokov quite rightly warns the reader in his Foreword<br />
that the plot of the novel "is not quite as familiar<br />
as the writer of the rude letter in Chapter<br />
Eleven assumes it to be. "25 Its mere surface events,<br />
of course are familiar and can be categorized to-'<br />
gether with those of Lydia's trashy novels; the connection<br />
is actually established several times (34,151).<br />
But behind this surface Despair has turned out to be<br />
yet another novel about the relation between art and<br />
reality and to anticipate much of what Nabokov elaborates<br />
on in his much later novels.<br />
11