''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
- 37 - author frees the reader's mind and enables him to look at things in a new way, without being hampered by the traditional ideas these forms have all along imposed upon him. "Parody serves to startle the reader into an awareness that his comfortable notions of fiction and 'reality' are about to be exploded. "122 It is thus that his eyes are opened to the novels' basic theme - the quest for reality - and it is thus, too, that he is startled into an awareness of the "true reality" the author has discovered through his art and uncovered for the reader in his art. The author cannot actually bring the reader face to face with the "true reality" he, as artist,. perceives, but he can at least bring him face to face with his artistic version of what he perceives. Sometimes, however, he has to stop short even of this. Nabokov admits that much when, as in Ada and Transparent. Things the characters' experiences are hinted at rather than articulated, and he admits as much about himself. His characters' preoccupations are largely his own. This becomes clear from his statements about the enigmatic nature of reality quoted earlier in this Introduction; he is fascinated by patterns in his own life123 like some of his char- acters, and, like Van Veen, he is preoccupied with timel24 and death 125, and shares to a degree Van's conception of time126. And it seems that he must have had experiences of the nature described for example in Transparent Things: experiences that have given
- 38 - him knowledge surpassing that given by the senses, the intellect, by science, or philosophy; experiences that cannot be expressed in intellectual terms because they have nothing to do with the intellect but are purely intuitive. It seems that this is implied in something he once said in an interview: ... what I am going to say now is something I have never said before... I know more than I can express in words, and the little I can express would not have been expressed, had I not known more. -27 What has emerged from this analysis confirms what was said at the beginning about Nabokov's conception of art, and it confirms what he says about his own novels. They are unlike anything that Chernyshevskii wants art to be, and thus support Nabokov's rejection of Chernyshevskii's theories. They neither "reproduce" nor "explain", nor do they "teach". They defy any attempt to read a "social mission" into them, and they are not concerned with the "problems of the age". As Nabokov insists, they contain no "moral message" and certainly no "general ideas". If they cannot be called "art for art's sake", this is due to their preoccupation with the quest that has been described. As has been seen, Nabokov puts this quest into an artistic shape because he considers art as a superior way to knowledge. By his gift of the imagination, the artist can obtain knowledge, and can penetrate into realms which are forbidden to everybody else, and though he does not "teach", he can, through his art, make this knowledge available to others; he can sometimes open these realms to others, or he
- Page 1 and 2: ''Vladimir Nabokov's Comic Quest fo
- Page 3 and 4: Abstract Nabokov once said that "re
- Page 5 and 6: Introduction
- Page 7 and 8: -2- granting that the Bolshevist an
- Page 9 and 10: -4- consent, was motivated by the a
- Page 11 and 12: -6- on the aspects of life that int
- Page 13 and 14: -8- importance but its art, only it
- Page 15 and 16: - 10 - of. the novels, consist in t
- Page 17 and 18: - 12 - life with its hazards and in
- Page 19 and 20: - 14 - lives of individual persons,
- Page 21 and 22: - 16 - is convinced to really know
- Page 23 and 24: - 18 - hopeless, but Nabokov does n
- Page 25 and 26: - 20 - for the artist, is expressed
- Page 27 and 28: - 22 - a new, wholly artistic reali
- Page 29 and 30: - 24 - way, and this knowledge and
- Page 31 and 32: - 26 - internal evidence of Invitat
- Page 33 and 34: - 28 - Admittedly not all of Naboko
- Page 35 and 36: - 30 - "tr. ue reality" in that it
- Page 37 and 38: - 32 - the manner in which the subj
- Page 39 and 40: - 34 - The case is quite similar in
- Page 41: - 36 - lines of play 11120 will in
- Page 45 and 46: - 40 - the present. This act of rec
- Page 47 and 48: - 42 - design in the life of Martin
- Page 49 and 50: - 44 - Martin's mother of her son's
- Page 51 and 52: - 46 - is blind where his wife and
- Page 53 and 54: - 48 - serious and profound experie
- Page 55 and 56: I. The Eye Pnin Lolita; Laughter*in
- Page 57 and 58: - 51 - novel. They illustrate how p
- Page 59 and 60: - 53 - tearing the banknote into li
- Page 61 and 62: - 55 - have before: after the suici
- Page 63 and 64: - 57 - imagination of Gretchen best
- Page 65 and 66: - 59 - deed been through an experie
- Page 67 and 68: - 61 - there must be some "model" a
- Page 69 and 70: - 63 - P NI N In their appreciation
- Page 71 and 72: - 65 - For the sake of convenience
- Page 73 and 74: - 67 - Pnin's appearance is comic,
- Page 75 and 76: - 69 - all-the time. He suffers an
- Page 77 and 78: - 71 - existence" (13). In his pres
- Page 79 and 80: - 73 - is going to give, on his per
- Page 81 and 82: - 75 - exist in such big sea" (60).
- Page 83 and 84: - 77 - directly from Pnin's peculia
- Page 85 and 86: - 79 - them at least 10ok like his
- Page 87 and 88: - 81 - indeed only the very thinnes
- Page 89 and 90: - 83 - but the group of academics w
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37 -<br />
author frees the reader's mind and enables him to<br />
look at things in a new way, without being hampered<br />
by the traditional ideas these <strong>for</strong>ms have all along<br />
imposed upon him.<br />
"Parody serves to startle the reader into an awareness<br />
that his com<strong>for</strong>table notions of fiction and<br />
'reality' are about to be exploded. "122 It is thus<br />
that his eyes are opened to the novels' basic theme -<br />
the quest <strong>for</strong> reality - and it is thus, too, that<br />
he is startled into an awareness of the "true reality"<br />
the author has discovered through his art and uncovered<br />
<strong>for</strong> the reader in his art. The author cannot actually<br />
bring the reader face to face with the "true<br />
reality" he, as artist,. perceives, but he can at<br />
least bring him face to face with his artistic version<br />
of what he perceives.<br />
Sometimes, however, he has to stop short even of<br />
this. Nabokov admits that much when, as in Ada and<br />
Transparent. Things the characters' experiences are<br />
hinted at rather than articulated, and he admits as<br />
much about himself. His characters' preoccupations<br />
are largely his own. This becomes clear from his<br />
statements about the enigmatic nature of reality<br />
quoted earlier in this Introduction; he is fascinated<br />
by patterns in his own life123 like some of his char-<br />
acters, and, like Van Veen, he is preoccupied with<br />
timel24 and death<br />
125,<br />
and shares to a degree Van's<br />
conception of time126. And it seems that he must have<br />
had experiences of the nature described <strong>for</strong> example<br />
in Transparent Things: experiences that have given