''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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- 429 - instance, are to a large extent based on the experience of his emigre existence in Berlin, and parts of Mary are based on some youthful romance. Some of the main events in the life of Sebastian Knight resemble events in Nabokov's own life, and the same has been found to be true of Vadim. Persons Nabokov knew reappear in his fiction. Thus one can see his own Mademoiselle, described in Speak, Memory, as the model for V's and Sebastian's old Swiss Mademoiselle in The Real Life of Sebastian Knight. In connection with Pale Fire it was said that thousands of daily trivia have found their way into Nabokov's novels. One may try and trace everything. One may trace the obvious parallels between the events in Nabokov's life and those events in the lives of his characters that resemble them. One may include into one's knowledge of the author such views as he gave to his "more responsible" characters. But all of this will not help one to know the author. The chapters on The Real Life of Sebastian Knight'and Pale Fire have shown that such autobiographical elements as are there, are taken out of their original contexts, combined with other elements, even with invented ones, and introduced into the novels for purely artistic purposes. Look at the Harlequins! is another example to illus- trate the point. j6 If one does not pay attention to this, and if one does not or cannot make the proper distinction between real and invented, but insists on putting all the elements together and reconstruct from them the pic-

- 430 - ture of the author, one may well end up with the "macabre doll" that Nabokov sees as the product of such an undertaking, or with a parody such as Vadim, whom Nabokov seems to have invented for the very purpose of discouraging the reader from any such enterprise. From behind the playful f agade of the novel emerges as serious warning addressed to the reader not to do what Vadim seems to be suggesting at the beginning, and a definite refutation of any attempt to search the works of an author for any authentic information about him. His "reality" and identity cannot be "ferreted out". They are his own and ought to be left alone. At the end of one's preoccupation with Nabokov's novels, and however well one may know them, one is therefore left with an author whose own reality escapes one and whom one does not know. Once more, and as in all the other novels, parody - this time the parodistic treatment of the author's own life and person - serves a serious purpose. In many respects Look at the Harlequins: looks like a conscious and deliberate summing-up on the part of the author of what he has done and said in all his earlier novels.. This goes well beyond the playful and parodistic recapitulation of their titles and plots. Throughout the novel Vadim is preoccupied with time, in the guise of space. His affliction, which he has given to a character in Ardis, consists in an inability to "cope with the abstraction of direction in space" (85). In actual, physical life I can turn as

-<br />

429<br />

-<br />

instance, are to a large extent based on the experience<br />

of his emigre existence in Berlin, and parts of Mary<br />

are based on some youthful romance. Some of the main<br />

events in the life of Sebastian Knight resemble events<br />

in <strong>Nabokov's</strong> own life, and the same has been found to<br />

be true of Vadim. Persons Nabokov knew reappear in<br />

his fiction. Thus one can see his own Mademoiselle,<br />

described in Speak, Memory, as the model <strong>for</strong> V's and<br />

Sebastian's old Swiss Mademoiselle in The Real Life<br />

of Sebastian Knight. In connection with Pale Fire it<br />

was said that thousands of daily trivia have found<br />

their way into <strong>Nabokov's</strong> novels.<br />

One may try and trace everything. One may trace the<br />

obvious parallels between the events in <strong>Nabokov's</strong><br />

life and those events in the lives of his characters<br />

that resemble them. One may include into one's knowledge<br />

of the author such views as he gave to his "more<br />

responsible" characters. But all of this will not help<br />

one to know the author. The chapters on The Real<br />

Life of Sebastian Knight'and Pale Fire have shown<br />

that such autobiographical elements as are there, are<br />

taken out of their original contexts, combined with<br />

other elements, even with invented ones, and introduced<br />

into the novels <strong>for</strong> purely artistic purposes.<br />

Look at the Harlequins! is another example to illus-<br />

trate the point.<br />

j6<br />

If one does not pay attention to this, and if one<br />

does not or cannot make the proper distinction between<br />

real and invented, but insists on putting all the<br />

elements together and reconstruct from them the pic-

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