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Часть текста: then in Sovremennye zapiski , nos. 40-42, and finally in book form later that same year by Slovo in Berlin. An English version, translated by the author in collaboration with Michael Scammell, was published in 1964 by Putnam as The Defenestration . This edition is true to the original with the exception of two references to Zembla that the author, or the translator, or an unnamed editor, or an inattentive typesetter, chose to remove, or happened to remove inadvertantly, from Chapters Two and Five. Zashchita Luzhina is a book about chess, "a game of skill played by two persons, each having sixteen pieces to move in different ways, on a board divided into 64 squares, alternately light and dark." (I owe this pithy definition to Webster.) If the reader does not know, or has forgotten, the rules to the game, he or she is invited to consult one of the many pamphlets devoted to chess that must surely exist in every language written and read in the civilized world. The word chess derives from Middle English ches or chesse , thence from Old French eschec (francophones will hear here an echo of the French word for failure, a not irrelevant observation for the case under discussion), or echac ,2 thence from Persian shah , a king, the most important piece in the game. Luzhin, the eponymous hero, is our king: He remembered especially the time when he was quite small, playing all alone, and wrapping himself up in the tiger rug, to represent, rather forlornly, a king (p. 70, 4). (Indeed. A young and pretty...

2. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Seven. King, Queen, Knave

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Часть текста: свет. Подлинная жизнь Владимира Набокова Chapter Seven. King, Queen, Knave Chapter Seven King, Queen, Knave "Kollektsiia duratskikh fizionomii i zamuchennykh veshchei." ( Korol', dama, valet , 242) 1 Rather than dwell on the unpleasant and, truth be told, unforeseen afteraffects of my visit to Madame Fat and the mysterious events pursuant thereto, I shall now discuss matters more literary, less metaphysical, partly in the interest of the maintenance of my own mental equilibrium, partly in response to what an impartial observer would certainly characterize as the overly vociferous behest of my good, but sometimes impatient, editor, who enjoined me, in a fax sent to the seedy but comfortable hotel in Villefranche-sur-Mer where I was recovering from recent scholarly labors, to "get on with it." (Incidentally, the sea softly plashing against the sandy edge of this charming townlet is, at noon, a deep azure hue, recalling a certain lake in my homeland, a distant northern land. And at night, I have noticed on my insomniac rambles, the moon casts slivers of silvery light upon the ink-black waters. Do remind me to say more of this later.) The original contract for this book (signed three years ago with a then noticeably more solicitous publisher whose name I am legally bound not to mention) stipulated that the text be comprised not only of biography proper (of which the reader has already enjoyed, I trust, a taste) but also of criticism of each of Nabokov's books. In lieu of any sensible reason not to proceed in any but a chronological, or pseudo-chronological, fashion, I turn now to Korol', dama, valet , 2 a novel ...

3. Интервью Набокова на английском языке. Wisconsin Studies, 1967 г.

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Часть текста: wrote out his answers to the questions or dictated them to the interviewer; in some instances, notes from the conversation were later recast as formal questions-and-answers. The interviewer was Nabokov's student at Cornell University in 1954, and the references are to Literature 311-312 (MWF, 12), a course on the Masterpieces of European Fiction (Jane Austen, Gogol, Dickens, Flaubert, Tolstoy, Stevenson, Kafka, Joyce, and Proust). Its enrollment had reached four hundred by the time of Nabokov's resignation in 1959. The footnotes to the interview, except where indicated, are provided by the interviewer, Alfred Appel, Jr. For years bibliographers and literary journalists didn't know whether to group you under "Russian" or "American. "Now that you're living in Switzerland there seems to be complete agreement that you're American. Do you find this kind of distinction at all important regarding your identity as a writer? I have always maintained, even as a schoolboy in Russia, that the nationality of a worthwhile writer is of secondary importance. The more distinctive an insect's aspect, the less apt the taxonomist is to glance first of all at the locality label under the pinned specimen in order to decide which of several vaguely described races it should be assigned to. The writer's art is his real...

4. Lolita

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Часть текста: Lolita Foreword Part One Chapters 1 - 8 Chapters 9 - 11 Chapters 12 - 17 Chapters 18 - 22 Chapters 23 - 27 Chapters 28 - 33 Part Two Chapters 1 - 2 Chapters 3 - 8 Chapters 9 - 16 Chapters 17 - 21 Chapters 22 - 26 Chapters 27 - 31 Chapters 32 - 36

5. Чарльз Кинбот (Джефф Эдмундс): Серебристый свет. Подлинная жизнь Владимира Набокова

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Часть текста: Чарльз Кинбот (Джефф Эдмундс): Серебристый свет. Подлинная жизнь Владимира Набокова Глава первая. При посещенье могилы Набокова Глава вторая. Пресный приступ Глава третья. "Машенька" Глава четвертая. Ночь бродит по полям Глава пятая. Кафка Глава шестая. Медовый реющий туман Глава седьмая. "Король, дама, валет" Глава восьмая. Смерть не смешна От переводчика Внимание ! Последние двае главы не переведены. Их можно прочитать в английсокм варианте ниже. Chapter One. On Visiting Nabokov's Tomb Chapter Two. An Insipid Incipit Chapter Three. Mashen'ka Chapter Four. Night Roams the Fields Chapter Five. Kafka Chapter Six. This Hovering Honeyed Mist Chapter Seven. King, Queen, Knave Chapter Eight. Dying Is No Fun Chapter Nine. Zashchita Luzhina Chapter Ten. America

6. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Three. Mashen'ka

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Часть текста: first book of prose, in fair copy, before me. Curiously enough, one cannot read a book, one can only reread it, as the Master once wrote. And this I did, many times, savoring the turns of phrase and the shades of words, staunch in my belief that a careful rereader, forearmed with a knowledge of what is to come, is more apt to catch the glimpses of future greatness that the prose of a first novel allows. After having considered and discarded one by one a series of clever but clumsy titles for this chapter I settled on the pedestrian choice above. Engaging in verbal legerdemain while speaking of Nabokov is a perilous and perhaps foolhardy undertaking, given his own multilingual mastery over words--one might compare it to beginning a talk on Nijinsky by stepping from behind the lectern to attempt a jeté or two. While much, indeed too much, has been written about Nabokov's English novels, much less has been said about his earliest Russian fiction. It is to this I must now turn. My editor has chided me for diverging too frequently and too widely from my subject--but what is a life if not a series of diversions from some hidden, ineffable theme? Mashen'ka opens with the tongue-twisting name and patronymic of the protagonist Ganin, Lev Glebovich, which, complains the character Alferov, "iazyk vyzvikhnut' mozhno"...

7. Перевод Набоковым Евгения Онегина на английский язык. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin

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Часть текста: Перевод Набоковым Евгения Онегина на английский язык. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin Chapter one Chapter two Chapter three Chapter four Chapter five Chapter six Chapter seven Chapter eight Notes to Eugene Onegin Fragments of Onegin's journey

8. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Fragments of Onegin's journey

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Часть текста: It depended upon him to designate this omitted chapter by means of dots or a numeral; but to avoid ambiguity he decided it would be better to mark as number eight, instead of nine, the last chapter of Eugene Onegin, and to sacrifice one of its closing stanzas [Eight: XLVIIIa]: 'Tis time: the pen for peace is asking nine cantos I have written; my boat upon the joyful shore 4 by the ninth billow is brought out. Praise be to you, O nine Camenae, etc. “P[avel] A[leksandrovich] Katenin (whom a fine poetic talent does not prevent from being also a subtle critic) observed to us that this exclusion, though perhaps advantageous to readers, is, however, detrimental to the plan of the entire work since, through this, the transition from Tatiana the provincial miss to Tatiana the grande dame becomes too unexpected and unexplained: an observation revealing the experienced artist. The author himself felt the justice of this but decided to leave out the chapter for reasons important to him but not to the public. Some fragments [XVI–XIX, l–10] have been published [Jan. 1, 1830, Lit. Gaz. ] ; we insert them here, subjoining to them several other stanzas.” E. [sic] Onegin drives from Moscow to Nizhni Novgorod: [IX] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . before him ...

9. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter one

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Часть текста: and withered years, 16 the intellect's cold observations, and the heart's sorrowful remarks. CHAPTER ONE To live it hurries and to feel it hastes. Prince Vyazemski I “My uncle has most honest principles: when he was taken gravely ill, he forced one to respect him 4 and nothing better could invent. To others his example is a lesson; but, good God, what a bore to sit by a sick person day and night, not stirring 8 a step away! What base perfidiousness to entertain one half-alive, adjust for him his pillows, 12 sadly serve him his medicine, sigh — and think inwardly when will the devil take you?” II Thus a young scapegrace thought as with post horses in the dust he flew, by the most lofty will of Zeus 4 the heir of all his kin. Friends of Lyudmila and Ruslan! The hero of my novel, without preambles, forthwith, 8 I'd like to...

10. Интервью Набокова на английском языке. Anonymous, 1972 г.

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Часть текста: conducted by correspondence in 1972, was intended, refused to publish it. My interviewer's questions have been abridged or stylized in the following version. Critics of Transparent Things seem to haw had difficulty in describing its theme. Its theme is merely a beyond-the-cypress inquiry into a tangle of random destinies. Amongst the reviewers several careful readers have published some beautiful stuff about it. Yet neither they nor, of course, the common criticule discerned the structural knot of the story. May I explain that simple and elegant point? You certainly may. Allow me to quote a passage from my first page which baffled the wise and misled the silly: "When we concentrate on a material object. . . the very act of attention may lead to our involuntarily sinking into the history of that object." A number of such instances of falling through the present's "tension film" are given in the course of the book. There is the personal history of a pencil. There is also, in a later chapter, the past of a shabby room, where, instead of focusing on Person and the prostitute, the spectral observer drifts down into the middle of the previous century and sees a Russian traveler, a minor...

Поиск по творчеству и критикеCлово "CHAPTER"

Поиск по творчеству и критике
Cлово "CHAPTER"