''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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- 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

-<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

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