''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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- 421 - resemblance, and although some of Vadim's novels seem to be simply reflections of Nabokov's, others are "serious distortions and even composites. "4 Richard Patteson has given a detailed analysis of the similarities and differences of which only a few shall be mentioned here to illustrate the point. Tamara seems to resemble Mary so closely as to be mistaken for it by an old bookseller, who also confuses Camera Lucida with Camera Obscura (Laughter in the Dark), but the remarks about Pawn Takes Queen indicate that in this novel a fusion has occurred between King, Queen, Knave and The Defence (58). The Red Tophat takes its title from a phrase in Invitation to a Beheading 5 and corresponds to that novel, and the cor- respondences seem to be equally clear between Esmeralda and Her Parandrus and Bend Sinister and their respective heroes Gurko and Krug. Dr. Olga Repnin echoes Pnin in its very title, and A Kingdom by the Sea recalls the title that Nabokov had originally planned to give to Lolita. But when somebody accuses Vadim of writing a book the contents of which is a vague version of Lolita, Vadim is "aware of the uncontrollable cloud of black fury growing within my brain" (218) before he puts this person right: "You are mis- taken. You are a somber imbecile. The novel I wrote, the novel I'm holding now, is A Kingdom by the Sea, you are talking of some other book altogether" (218), thus energetically and angrily denying any connection between the two books. Even so, the basic situation does resemble that of Lolita, but some elements from

- 422 - Ada also appear in it: somewhat like Van and Ada, the lovers "were to live to the combined age of 170 in absolute bliss" (194). The most amusing and most elaborate twist occurs in connection with See under Real which combines the basic situation of The Real Life of Sebastian Knight with the mechanics of Pale Fire. The "uninformed" and mediocre biography of "an English novelist, a brilliant and unique performer" is edited "by the indignant brother of the dead novelist", and in his edition "fraternal footnotes, half-a-dozen lines per page, then more, then much more, which started to question, then refute, then demolish by ridicule the would-be biographer's doctored anecdotes and vulgar inventions" (121) assume by and by the same prominence as Kinbote's critical apparatus in Pale Fire. Vadim's Ardis sounds similar enough to Ada to be identified with it: "a stylized memoir dealing with the arbored boyhood and ardent youth of a great thinker who by the end of the book tackles the itchiest of all noumenal mysteries" (231). They are, however, not quite identical, for the mystery tackled in Vadim's Ardis is "the Specter of Space" (231), whereas Van Veen is of course preoccupied with the Texture of Time. But parody soon leaves this somewhat superficial and obvious level and assumes profounder implications. Somewhat surprisingly for a Nabokov character, Vadim states that "the present memoir derives much of its value from its being a catalogue raisonne of the roots and origins and amusing birth canals of many images in my Russian and especially English fiction" (8),

-<br />

422 -<br />

Ada also appear in it: somewhat like Van and Ada, the<br />

lovers "were to live to the combined age of 170 in<br />

absolute bliss" (194). The most amusing and most elaborate<br />

twist occurs in connection with See under Real<br />

which combines the basic situation of The Real Life<br />

of Sebastian Knight with the mechanics of Pale Fire.<br />

The "unin<strong>for</strong>med" and mediocre biography of "an English<br />

novelist, a brilliant and unique per<strong>for</strong>mer" is edited<br />

"by the indignant brother of the dead novelist", and<br />

in his edition "fraternal footnotes, half-a-dozen lines<br />

per page, then more, then much more, which started to<br />

question, then refute, then demolish by ridicule the<br />

would-be biographer's doctored anecdotes and vulgar<br />

inventions" (121) assume by and by the same prominence<br />

as Kinbote's critical apparatus in Pale Fire. Vadim's<br />

Ardis sounds similar enough to Ada to be identified<br />

with it: "a stylized memoir dealing with the arbored<br />

boyhood and ardent youth of a great thinker who by the<br />

end of the book tackles the itchiest of all noumenal<br />

mysteries" (231). They are, however, not quite identical,<br />

<strong>for</strong> the mystery tackled in Vadim's Ardis is<br />

"the Specter of Space" (231), whereas Van Veen is of<br />

course preoccupied with the Texture of Time.<br />

But parody soon leaves this somewhat superficial<br />

and obvious level and assumes profounder implications.<br />

Somewhat surprisingly <strong>for</strong> a Nabokov character, Vadim<br />

states that "the present memoir derives much of its<br />

value from its being a catalogue raisonne of the roots<br />

and origins and amusing birth canals of many images<br />

in my Russian and especially English fiction" (8),

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