Владимир Набоков: Поиск по текстам произведений автора и критике. Cлово "RENDER". Классическая русская литература.

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Часть текста: Андреева, - переводчица, журналистка, автор мемуаров, в том числе о встречах с Борисом Пастернаком» 2 . Справка эта нуждается в существенных дополнениях. В частности, что такое те «мерзостны<е> “преображен- ии<я>”», о которых с таким гневом пишет своему адресату Набоков? Очевидно, что речь здесь идет об одной из тогдашних новинок - антологии “Poets on Street Corners” («Поэты на уличных углах») под редакцией О. В. Андреевой-Карлайль. В антологию эту вошли переводы из пятнадцати русских поэтов: А. Блока, Анны Ахматовой, Б. Пастернака, О. Мандельштама, М. Цветаевой, В. Маяковского, С. Есенина, Н. Заболоцкого, Б. Поплавского, Е. Евтушенко, А. Вознесенского, И. Холина, Г. Сапгира, Б. Ахмадулиной и И. Бродского 3 . Переводы из Мандельштама, выполненные Робертом Лоуэллом, лауреатом Bollingen Poetry Translation Prize 1962 г., помещены в антологии с указанием на их подчеркнуто вольный характер. Уже этого одного обстоятельства было достаточно для того, чтоб Набоков счел Лоуэлла оскорбителем тени покойного Мандельштама - поэта, который Набокову был особенно дорог в те годы 4 . В 1964 г. в предисловии к...

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Часть текста: many of his principal guidelines for writing, reading, and performing plays. The reader is urged to bear in mind, however, that, later in life, Father might have expressed certain thoughts differently. The lectures were partly in typescript and partly in manuscript, replete with Nabokov's corrections, additions, deletions, occasional slips of the pen, and references to previous and subsequent installments of the course. I have limited myself to what editing seemed necessary for the presentation of the lectures in essay form. If Nabokov had been alive, he might perhaps have performed more radical surgery. He might also have added that the gruesome throes of realistic suicide he finds unacceptable onstage (in "The Tragedy of Tragedy") are now everyday fare on kiddies' TV, while "adult" entertainment has long since outdone all the goriness of the Grand Guignol. He might have observed that the aberrations of theatrical method wherein the illusion of a barrier between stage and audience is shattered - a phenomenon he considered "freakish" - are now commonplace: actors wander and mix; the audience is invited to participate; it is then applauded by the players in a curious...

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Часть текста: most of the drive from New York State to Colorado was entomologically uneventful. When reached at last, Telluride turned out to be a damp, unfrequented, but very spectacular cul-de-sac (which a prodigious rainbow straddied every evening) at the end of two converging roads, one from Placerville, the other from Dolores, both atrocious. There is one motel, the optimistic and excellent Valley View Court where my wife and I stayed, at 9,000 feet altitude, from the 3rd to the 29th of July, walking up daily to at least 12,000 feet along various more or less steep trails in search of sublivens. Once or twice Mr. Homer Reid of Telluride took us up in his jeep. Every morning the sky would be of an impeccable blue at 6 a. m. when I set out. The first innocent cloudlet would scud across at 7: 30 a. m. Bigger fellows with darker bellies would start tampering with the sun around 9 a. m., just as we emerged from the shadow of the cliffs and trees onto good hunting grounds. Everything would be cold and gloomy half an hour later. At around 10 a. m. there would come the daily electric storm, in several installments, accompanied by the most irritatingly close lightning I have ever encountered anywhere in the Rockies, not excepting Longs Peak, which is saying a good deal, and followed by cloudy and rainy weather through the rest of the day. After 10 days of this, and despite diligent subsequent exploration, only one sparse colony of sublivens was found. On that one spot my wife found a freshly emerged male on the 15th. Three days later I had the pleasure of discovering the unusual-looking female. Between the 15th and the 28th, a dozen hours of windy but passable collecting weather in all (not counting the hours and hours uselessly spent in mist and rain) yielded only 54 specimens, of which 16...

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Часть текста: BUTTERFLIES, MOTHS AND OTHER STUDIES Compiled and edited by Alice Ford Anyone knowing as little about butterflies as I do about birds may find Audubon's lepidoptera as attractive as his bright, active, theatrical birds are to me. Whatever those birds do, I am with them, heartily sharing, for instance, the openbilled wonder of "Green Heron" at the fantastic situation and much too bright colors of "Luna Moth" in a famous picture of the "Birds" folio. At present, however, I am concerned only with Audubon's sketchbook ("a fifteen-page pioneer art rarity" belonging to Mrs. Kirby Chambers of New Castle, Kentucky) from which Miss Ford has published drawings of butterflies and other insects in a handsome volume padded with additional pictorial odds and ends and an account of Audubon's life. The sketches were made in the 1820s. Most of the lepidoptera which they burlesque came from Europe (Southern France, I suggest). Their scientific names, supplied by Mr. Austin H. Clark, are meticulously correct-- except in the case of one butterfly, p. 20, top, which is not a Hamaeris but a distorted Zerynthia. Their English equivalents, however,...

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Часть текста: I am thinking of American works of fiction, including my own stuff. It would seem that this reticence is somehow linked up with a sense of decorum. Conformists suspect that to speak of "inspiration" is as tasteless and old-fashioned as to stand up for the Ivory Tower. Yet inspiration exists as do towers and tusks. One can distinguish several types of inspiration, which intergrade, as all things do in this fluid and interesting world of ours, while yielding gracefully to a semblance of classification. A prefatory glow, not unlike some benign variety of the aura before an epileptic attack, is something the artist learns to perceive very early in life. This feeling of tickly well-being branches through him like the red and the blue in the picture of a skinned man under Circulation. As it spreads, it banishes all awareness of physical discomfort-- youth's toothache as well as the neuralgia of old age. The beauty of it is that, while completely intelligible (as if it were connected with a known gland or led to an expected...

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Часть текста: yet another purpose? Deception is practiced even more beautifully by that other V. N., Visible Nature. A useful purpose is assigned by science to animal mimicry, protective patterns and shapes, yet their refinement transcends the crude purpose of mere survival. In art, an individual style is essentially as futile and as organic as a fata morgana. The sleight-of-hand you mention is hardly more than an insect's sleight-of-wing. A wit might say that it protects me from half-wits. A grateful spectator is content to applaud the grace with which the masked performer melts into Nature's background. In your autobiography. Speak, Memory, you describe a series of concurrent, insignificant events around the world "forming an instantaneous and transparent organism of events, " of which the poet (sitting in a lawn chair at lthaca. New York) is the nucleus. How does this open out on your larger belief in the precedence of the imagination over the mind? The simultaneousness of these random events, and indeed the fact of their occurring at all as described by the central percipient, would only then conform to "reality" if he had at his disposal the apparatus to reproduce those events optically within the frame of one screen; but the central figure in the passage you quote is not equipped with any...

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Часть текста: Triquarterly», выходившем тогда в Анн Арборе. Статья, действительно, была написана в 1973 году [94] и замысел ее состоял в том, чтобы две рецензии составляли единую и концептуальную работу: первая рецензия, на книгу Дж. Т. Локрантц, обсуждала в связи с этой книгой теоретические вопросы, а рецензия на статью К. Р. Проффера — их приложение к наиболее в тот момент [95] актуальному и сложному тексту Набокова. В 1973 г. эта статья была отдана Карлу Профферу, редактору журнала «Russian Literature Triquarterly», но не появилась в книге под его редакцией [96] и долго не появлялась в журнале. В конце концов, лет через пять она (т. е. только первая ее половина) была напечатана в № 14, на котором стояла дата 1976, но реально он вышел значительно позже [97] — и напечатана в искаженном виде. Во-первых, анонимно, во-вторых — пропала вторая половина статьи [98] . Я написал язвительное (или, может быть, просто злобное) предисловие, в котором обвинил редактора во всех смертных грехах, включая плагиат [99] , и скандальное письмо, в котором грозил...

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Часть текста: 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 princelet, I too played at being king. Note the tiger rug, which will reappear later as a "belaia medvezh'ia shkura, raskinuv lapy, slovno letia v blestiashchuiu propast' pola" (p. 68, 8) ["a white bearskin with spread paws... as if flying in the shiny abyss of the floor" (p. 119, 8)], an image which links, alas, the raiments of royalty with a flying leap into...

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Часть текста: Oberthьr books or those of Grand Duke Nikolai Mikhailovich. The absence or utter inadequacy of "references" in the atlases ad usum Delphini, the tedious perusal of the index of names enclosed with an annual volume of a monthly journal, the sheer number of these journals and volumes (in my father's library there were more than a thousand of the latter alone, representing a good hundred journals) - all this had to be overcome in order to hunt down the necessary reference, if it existed at all. Nonetheless, even in my exceptionally propitious situation things were not easy: Russia, particularly in the north, dwelt in a mist, while the local lists, scattered through the journals, totally haphazard, scanty, and cruelly inaccurate in nomenclature, only maddened me when at last I ferreted them out. My father was the preeminent entomologist of his time, and very well off to boot, but the ordinary amateur, unable to dispatch his scouts throughout Russia, and denied the opportunity - or not knowing how - to gain access to specialized collections and libraries (and an accidental boon, the hasty inspection of collections at a lepidopterological society or in the cellar of some museum, does not satisfy the true enthusiast, who needs to have the boon always at hand), had no choice but to hope for a miracle. And that miracle dawned in 1912 with the appearance of my father's four-volume work The Butterflies and Moths of the Russian Empire. Although in a hall adjoining the library dark-red cabinets contained my father's supremely rich collections, consisting of specimens complete with thoroughly accurate names, dates, and places ...

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Часть текста: 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). Instantly we are made aware of the potential treachery of words. With Alferov's statement a few paragraphs later that "vsiakoe imia obiazyvaet," we are also reminded of their power. The first stylistic glimmer of the mature Nabokov, which comes after the brief dialogue between...

Поиск по творчеству и критикеCлово "RENDER"

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Cлово "RENDER"