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

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Часть текста: [1967] This interview (published in Wisconsin Studies in Contemporary Literature, vol. VIII, no. 2, spring 1967) was conducted on September 25, 27, 28, 29, 1966, at Montreux, Switzerland. Mr. Nabokov and his wife have for the last six years lived in an opulent hotel built in 1835, which still retains its nineteenth-century atmosphere. Their suite of rooms is on the sixth floor, overlooking Lake Geneva, and the sounds of the lake are audible through the open doors of their small balcony. Since Mr. Nabokov does not like to talk off the cuff (or "Off the Nabocuff," as he said) no tape recorder was used. Mr. Nabokov ei! ther 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,...

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Часть текста: have made for a more accessible volume, though the care with which it has been assembled is an impressive testament to the deep devotion that Nabokov continues to inspire almost 25 years after his death. Apart from entomologists and Nabokov fans, it is difficult to imagine that many readers will last the enormous distance." - Simon Caterson, The Age "While few readers will want to study the scientific articles reprinted here, their presence in this striking miscellany operates in subtle ways to remind us that Nabokov (who referred to himself as VN), was also a student "of that other VN, Visible Nature"." - Jay Parini, The Guardian "Nabokovian humour shines through these writings, illustrated by a note he penned to Hugh Hefner pointing out how the carefully positioned wings and eyespot of a butterfly can be made to look like the Playboy bunny motif." - Steve Connor, The Independent "This book glistens like a rainforest: swarming with sap and colour, with love and death." - Robert Winder, New Statesman " Nabokov's Butterflies is a book trying to be many books (.....) The thematic anthology has its charms, but they are rather modest ones. (...) And it's hard to see what we gain from the frequent short flashes of administrative communciation from the letters." - Michael Wood, The New York Review of Books "Even Nabokov, however, might tire of a collection noting every time a moth flits by a lamp in Nabokov's writings. (...) Presumably, the prosaic poems bear the bruises of translation from the Russian by Nabokov's son, Dmitri. With few...

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Часть текста: 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 своему комментированному переводу пушкинского «Онегина» Набоков писал, что попытки поэтического перевода...

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Часть текста: cards, and this part of the interview is given below. The rest, represented by some fifty pages typed from the tape, is too colloquial and rambling to suit the scheme of the present book. As with Gogol and even James Agйe, there is occasionally confusion about the pronunciation of your last name. How does one pronounce it correctly? It is indeed a tricky name. It is often misspelt, because the eye tends to regard the "a" of the first syllable as a misprint and then tries to restore the symmetrical sequence by triplicating the "o"-- filling up the row of circles, so to speak, as in a game of crosses and naughts. No-bow-cough. How ugly, how wrong. Every author whose name is fairly often mentioned in periodicals develops a bird-watcher's or caterpillar-picker's knack when scanning an article. But in my case I always get caught by the word "nobody" when capitalized at the beginning of a sentence. As to pronunciation, Frenchmen of course say Nabokoff, with the accent on the last syllable. Englishmen say Nabokov, accent on the first, and Italians say Nabokov, accent in the middle, as Russians also do. Na- bo -kov. A heavy open "o" as in...

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Часть текста: to this elegant formula and make their quantum leap into English. Yes, my forthcoming Poems and Problems [McGraw-Hill] will offer several examples of the verse of my early youth, including "The Rain Has Flown," which was composed in the park of our country place, Vyra, in May 1917, the last spring my family was to live there. This "new" volume consists of three sections: a selection of thirty-six Russian poems, presented in the original and in translation; fourteen poems which I wrote directly in English, after 1940 and my arrival in America (all of which were published in The New Yorker), and eighteen chess problems, all but two of which were composed in recent years (the chess manuscripts of the 1940-1960 period have been mislaid and the earlier unpublished jottings are not worth printing). These Russian poems constitute no more than one percent of the mass of verse which I exuded with monstrous regularity during my youth. Do the components of that monstrous mass fall into any discernible periods or stages of development? What can be called rather grandly my European period of verse-making seems to show several distinctive stages: an initial one of passionate and commonplace love verse (not represented in Poems and Problems)-, a period reflecting utter distrust of the so-called October Revolution; a period (reaching well into the nineteen-twenties) of a kind of private curatorship, aimed at preserving nostalgic retrospections and developing Byzantine imagery (this has been mistaken by some readers for an interest in "religion" which, beyond ...

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Часть текста: в былое время мечтательно зачитывался император) была подложным меморандумом, сочиненным полуграмотным мошенником по заказу тайной полиции; ее единственной целью было подстрекательство к погромам. Библиотекарь, подписавшийся Синепузовым, уверял, что я держу этот, по его выражению, "популярный и ценный труд" уже больше года. Он указывал на предыдущие напоминания, посланные мне в Белград, Берлин и Брюссель, куда, очевидно, заносило моего однофамильца. Я представлял себе этого субъекта молодым, очень белым эмигрантом безусловно черносотенной разновидности, образование которого было прервано революцией, и вот он теперь наверстывал упущенное традиционным способом. Он, видимо, много скитался; я тоже, - и на том наше сходство и кончается. Одна русская дама в Страсбурге спросила меня, не приходится ли мне братом некто женившийся на ее племяннице в Льеже. Как-то раз весной, в Ницце, в мою гостиницу зашла девушка с безстрастным лицом и длинными серьгами, сказала, что хочет меня повидать, а увидев, тотчас извинилась и ушла. В Париже я получил телеграмму, в которой нервно сообщалось: "Ne viens pas Alphonse de retour soupçonne sois prudent je t'adore angoissee"[58], и, признаюсь, я испытал род мрачного удовольствия, вообразив как мой повеса-двойник, неотвратимо врывается с букетом цветов в апартамент и застает там Альфонса с женой. Несколько лет спустя я читал лекции в...

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Часть текста: очевидные ошибки, допущенные по незнанию или непониманию. Это обычная человеческая слабость — и вполне простительная. Следующий шаг в ад делает переводчик, сознательно пропускающий те слова и абзацы, в смысл которых он не потрудился вникнуть или же те, что, по его мнению, могут показаться непонятными или неприличными смутно воображаемому читателю. Он не брезгует самым поверхностным значением слова, которое к его услугам предоставляет словарь, или жертвует ученостью ради мнимой точности: он заранее готов знать меньше автора, считая при этом, что знает больше. Третье — и самое большое — зло в цепи грехопадений настигает переводчика, когда он принимается полировать и приглаживать шедевр, гнусно приукрашивая его, подлаживаясь к вкусам и предрассудкам читателей. За это преступление надо подвергать жесточайшим пыткам, как в средние века за плагиат. Вопиющие ошибки первой категории в свою очередь делятся на две группы. Недостаточное знание иностранного языка может превратить самую расхожую фразу в блистательную тираду, о которой и не помышлял автор. «Bien-treral» [1] становится утверждением, уместным в устах мужчины: «Хорошо быть генералом», причем в генералы это благоденствие произвел французский переводчик «Гамлета», еще и попотчевав его при этом икрой. Или же в переводе Чехова на немецкий язык учитель, едва войдя в класс, погружается в чтение «своей газеты», что дало повод величавому критику сокрушаться о плачевном состоянии...

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Часть текста: to go alone), I happened to glimpse from the bathroom, through a chance combination of mirror aslant and door ajar, a look on her face… that look I cannot exactly describe… an expression of helplessness so perfect that it seemed to grade into one of rather comfortable inanity just because this was the very limit of injustice and frustrationand every limit presupposes something beyond ithence the neutral illumination. And when you bear in mind that these were the raised eyebrows and parted lips of a child, you may better appreciate what depths of calculated carnality, what reflected despair, restrained me from falling at her dear feet and dissolving in human tears, and sacrificing my jealousy to whatever pleasure Lolita might hope to derive from mixing with dirty and dangerous children in an outside world that was real to her. And I have still other smothered memories, now unfolding themselves into limbless monsters of pain. Once, in a sunset-ending street of Beardsley, she turned to little Eva Rosen (I was taking both nymphets to a concert and walking behind them so close as almost to touch them with my person), she turned to Eva, and so very serenely and seriously, in answer to something the other had said about its being better to die than hear Milton Pinski, some local schoolboy she knew, talk about music, my Lolita remarked: “You know, what’s so dreadful about dying is that you are completely on your own”; and it struck me, as my automaton knees went up and down, that I simply did not know a thing about my darling’s mind and that quite possibly, behind the awful juvenile clichs, there...

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Часть текста: one. Eva Rosen, a displaced little person from France, was on the other hand a good example of a not strikingly beautiful child revealing to the perspicacious amateur some of the basic elements of nymphet charm, such as a perfect pubescent figure and lingering eyes and high cheekbones. Her glossy copper hair had Lolita’s silkiness, and the features of her delicate milky-white face with pink lips and silverfish eyelashes were less foxy than those of her likesthe great clan of intra-racial redheads; nor did she sport their green uniform but wore, as I remember her, a lot of black or cherry darka very smart black pullover, for instance, and high-heeled black shoes, and garnet-red fingernail polish. I spoke French to her (much to Lo’s disgust). The child’s tonalities were still admirably pure, but for school words and play words she resorted to current American and then a slight Brooklyn accent would crop up in her speech, which was amusing in a little Parisian who went to a select New England school with phoney British aspirations. Unfortunately, despite “that French kid’s uncle” being “a millionaire,” Lo dropped Eva for some reason before I had had time to enjoy in my modest way her fragrant presence in the Humbert open house. The reader knows what importance I attached to having a bevy of page girls, consolation prize nymphets, around my Lolita. For a while, I endeavored to interest my senses in Mona Dahl who was a good deal around, especially during the spring term when Lo and she got so enthusiastic about dramatics. I have often wondered what secrets outrageously treacherous Dolores Haze had imparted to Mona while blurting out to me by urgent and well-paid request various really incredible details concerning an affair that Mona had had with a marine at the seaside. It was characteristic of Lo that she chose for her closest chum that elegant, cold, lascivious,...

Поиск по творчеству и критикеCлово "WONDERFUL"

Поиск по творчеству и критике
Cлово "WONDERFUL"