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Re: VNbIBLIOGRAPHY: ??? ?86, ????? ??????????? RE VN & CHESS
From
Date
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This is probably going to look funny to those who are fluent in both Russian
and English, but here is google's translation of the submitted text into
English:
Found in the Internet
UFO No. 86, Maria Pirogovskay
Willingly comparing the plot formation of chess composition, Nabokov
denied the existence of encrypted chess problems in their proze2 that, of
course, does not prevent researchers discern the literary analogy of chess
moves (especially in the novels "The Luzhin Defence," "Dare," "Lolita, Pale
Fire , "" Pnin, "" The Real Life of Sebastian Knight) 3. But the real lyric,
according to Nabokov, and plot, but because a relationship with a chess
composition. In the article "New Poets" (1927), Nabokov wrote: "... in my
opinion, the plot is as necessary a poem, like the novel. The most beautiful
lyric poems in Russian literature owes its strength and tenderness is the
fact that all of them by moving to an inevitable harmonic climax. Verses, in
which there is no unity, the peculiar lyrical fable, and there is only a
mood - casual and short-lived, as the mood itself is "4. Perfect example of
such a movement to "harmonic climax" Nabokov considered "correct sonnet,"
that is a sonnet written in iambic pentameter with the French scheme
rifmovki5.
Nabokov himself wrote 18 of these sonnets (not counting translations -
from Ronsard and Shakespeare). Half written before 1924 (1916 - "Happiness",
"Do you remember how my lips are numb ..." 1918 - "I returned to my love
forgotten ..." "serene heights and silence ..." "I love the unknown stations
..." , 1919 - "Acropolis", 1921 - "Clouds" (2), 1922 - "Sonnet"). The
remaining 9 - in 1924 ("The car in the mountains", "Death of Pushkin," St.
Petersburg: three sonnets, "" Three sonnets of chess "," Country of poetry
"). More "correct" Nabokov did not write sonnets, apparently, finding the
potential of this verse form a solid closed. However, he did not leave the
experience with other types of sonnets (eg, inverted sonnet in The Gift ")
and Onegin stanza, which elevates to sonetu6, and went on to discuss the
semantics of the sonnet in his novels and autobiographical prose,
emphasizing the" harmonic "aspect that bring together the sonnet with the
other view of creativity, requiring the same classic tuned and transparency
- a chess composition.
For the hero of "Dara", Nabokov alter ego Fyodor Godunov-Cherdyntseva
"compilation problem differs from the game about as verified sonnet differs
from the controversy publicists" (4, 351) in the preface to the anthology
"Poems and Problems" (1970) Nabokov complements the shape similar metaphor,
calling the problem "poetry of chess" 7. Compose a poem and drawing task,
Godunov-Cherdyntsev sequentially through the same phases: 1) nucleation
phase of design, the initial internal stimulus, 2) phase of understanding
the problem - a poetic or chess, which leads to the expression of ideas in
the subject or in connection therewith, 3) phase of purification and
progressive realization zamysla8. This is the same as a whole, according to
Nabokov, the dynamics of creative work being done by way of unexpected
findings, a brilliant match, rhyme, the same topic, to complete the
individual works.
The issue of creativity, understood only in this way and not otherwise,
and is the subject of the series "Three sonnets of Chess", published in
November 1924.
I
In the rook moves - iambic size,
in the ducts of the elephant - anapaest. Polutanets,
poluraschet - this is chess. From drunks
in a coffee shop noise, the smoke air ser.
They fought and Philidor Dyuser.
Now sit - brovasty evil Spaniard and
Dwarf with glasses. Lies strange gloss
in the veins of hands and eyes - like a chimera.
Next boat was iambic feet.
Then again - meditation. "Caramba,
give up now! "But lingers still dwarf.
And then pushed nail color of iodine
figure. Yes! He donates elephant
magic checkmate in four moves.
II
Movement of rhymes and dancers cruise
is a chess problem. Show:
here, seven white and black, only three
The lighting and gloomy squares.
Blackens queen among horses humpback,
and pawns in the night and dug as amber.
Decisions are waiting and servants, and the kings
in carved crowns and carved boots.
Torx trick queen.
Teasing, patterned path
misses the idea - and again the mind in darkness.
But the fairy rhymes - on a chessboard
is otbleskivaya in the lacquer,
and - easy - takes off on the toe.
III
I did not write the laws of the sonnet,
even in the poplars not slept nightingales
but, touching a pawn, a rook,
Create problem until dawn.
And concluded in the pattern of its response
our whole night, all your cries,
and the shadow of the branches, and bright jet
fluid stars, and skill of the poet.
I think my Spanish, and the dwarf
Philidor and - in order lace
miserly figures, playing under -
see everything - that pours moonlight,
I love the enthusiasm and clear
that the board has made me a sonnet (1, 629-630).
Association works in a cycle determines the integrity of the double
standard - components of the cycle of works and the whole cycle - and
activates the perception of the parameters of the comparison works cyclic
ryada9. In this case, it contributes to the brilliant combination that leads
to the mat, the first sonnet, solving chess problems from the second and the
creation of a task from a third perceived as rhyming and inextricably linked
under a single creative process, the equivalent stages in the process of
poetry and in general with his source of inspiration.
The last verse of the third sonnet (and the last verse of the cycle) -
that the board has made me a sonnet - equalizes the task with a solid verse
form. One of the common signs of the problem and the literary works of
Nabokov indicates in the "other coast" - a clear logical development,
combined with an abundance of traps and "illusory solutions" (5, 320). Another
important feature - an opportunity and a sonnet, and the problem regain ago,
"Riposto" restoring and recognizing the structure. Sonnet can be trimmed
(Russian poetry knows examples of headless and half sonnets) 10 or topple -
in the "Dare" Godunov-Cherdyntsev looped plug a novel about Chernyshevsky
sliced and inverted sonnet. (Aware of the unusual nature of this sonnet,
Nabokov finds it necessary to signal this to the reader and describes the
helplessness of a layman, faced with a departure from the usual scheme:
"After about two weeks after the release of" Life Chernyshevsky "answered
the first, artless echo. Linyov Valentin (Warsaw) wrote as follows:" A new
book by Boris Cherdyntseva opens six verses, which by some reason calls
sonnet (?) ... "(4, 475) 11). It is equally important that the poetic
sequence type AAb CCb dEEd dEEd perceived as a sonnet, and the reader to see
the intrigue in a certain arrangement of pieces on the board, he could
finish the task in a specified number of moves or to restore the previous
moves (especially in the problems on retrograde analysis).
2
The "staggered cycle" three-way logical structure consolidated and
enhanced by the fact that each sonnet contains a logical expression of two
types - primary, inline inherent in the sonnet, a priori, or secondary,
formed by the interaction of the parts at the level of the cycle. This
prompted the researcher to vchityvanie in cycle dialectical sonnet
struktury12. But the logic of the cycle does not coincide with the
dialectical logic of the sonnet, part and whole are not isomorphic, but
rather, it resembles the logic of proportion, refinement and logic approach,
groping and embodiment - in short, the logic of creativity, the opposite
uncreative perception of things "in the nominative case, a total of
givenness . Developing motivation, clarifying each other's images,
historical and literary associations which cut across a chess cycle, form a
dense field, connecting part of the cycle in a dynamic sequence: the
creative impulse, harmonic repetition-echo discovered by the artist, and
independent work, emerging from the finding of the rhyme.
The plot of the first sonnet, the most "Chess" from the cycle, is a
party with an unexpected outcome, which play out in a certain coffee shop,
two colorful players. The Spaniard among the possible extensions of the
Party does not see a single, leading to the Shah, which allows us to play a
combination of dwarf elephant victim. Sonnet ends with the formula
"checkmate in four moves, which is used in the composition, - thus seems to
invite the reader to solve the problem of the second sonnet. To understand
what lies behind the creative impulse in the first sonnet, the reader to
calculate the unknown - namely, to figure out who the Spaniard and the
dwarf, and that stands for comparing chess moves with poetic dimensions.
It is likely that a Spaniard and a dwarf have real prototypes. A few
months before the publication cycle in New York, an international chess
tournament, which for months (from March 16 to April 16, 1924) was a focus
throughout the Western media - from the Reuters news agency before the
emigre publications. Reports of the tournament were accompanied by
commentaries GMs: for example, "Berliner Zeitung" referred to the opinion
Siegbert Tarrasch. In Paris, "Days" and "Latest News" regularly went chess
reviews Eugene Znosko-Borowski, and the Berlin newspaper "Yesterday" on the
wave of interest in chess tournament opened a special department. The main
intrigue of the tournament was a fight between former world champion Emanuel
Lasker, world champion Jose Raul Capablanca, Lasker, who lost the title in
Havana three years earlier. Rivalry Chess began in 1914 in St. Petersburg
(then Lasker won) and in the same year continued blitsmatchem in Berlin
(Capablanca won). In the New York tournament Capablanca lagged behind Lasker
and a half points and they do not have to play against each other: won
Lasker and Capablanca won second place.
Both GM had already established characters in the chess media. Lasker,
though he was only 55 years, the press called "the great old man." The
essays about him constantly referred to his scientific status - doctor,
professor of mathematics and psychology - as well as its small stature,
stained mustache (Lasker never parted with a cigar, and during the game
sitting in a cloud of tobacco smoke), restraint and inner significance of
behavior. Lasker, regarded as the founder of "psychological" school games:
it "approach to chess in the light of psychological features of an opponent
is often expressed in the maneuvers, seem logical, in the weakening of that
Lasker would tolerate in their position," letting the party straight to the
abyss "(Richard Reti), but while denying opponents opportunities to appraise
the position of the standard, forcing them to make mistakes and ultimately
lose ... 13. Choosing options that, according to his feeling, not like a
rival, though not formally bear a direct threat, and even led to the loss of
his own figures, Lasker led "game with the enemy" and not "on board".
His rival - forty Cuban Jose Raul Capablanca - was considered a
brilliant player, but a selfish, arrogant and rude. He was in the diplomatic
service, the reputation of the "Latin lover", willingly led a secular life. It
was believed that he was never prepared for tournaments, however, thanks to
his gift, almost always wins if the opponent does not have enough endurance
and patience to resist its rapid atakam14.
Given these facts, the description of the players from the first sonnet
is easy to see the projection of Lasker and Capablanca, Nabokov may well
have to rely on recognition of prototypes, especially because their names
were on the hearing. But it is described in the first sonnet is a real
party? Viewing parties held Lasker and Capablanca did not find any in any
way like a lot of poems Nabokov. In addition, the Spaniard calls the enemy
to surrender, which gives it not a professional and amateur, and the party
turns into a soldier - but from no less dramatic - fight in a noisy
kofeyne15. Rather, the party of the first sonnet entirely fictitious. She
plays the eternal confrontation, a struggle between two chess temperaments:
the quiet, prone to subtle cumulative moves and complex traps, and rapid
acting quickly and decisively (or, if you use the terminology of Nabokov
Luzhin, "quiet" and "strong").
Even more puzzling origin of chess moves compare with the poetic
dimensions: whether pentameter and anapaest - a metaphor of direct (vertical
and horizontal) and indirect (diagonal) moves the chess pieces, or an
indication of how many cells have moved a rook and a bishop. To answer this
question we have to turn to the third sonnet cycle.
3
The third sonnet, which refers to independent creativity, disguised love
with the same vocabulary of images and motifs that Nabokov used in poems
1923-1924 years on Vera Slonim, and thematically similar fragments of a
"gift":
our whole night, all your cries,
and the shadow of the branches, and bright jet
fluid stars, and skill of the poet.
Wed in the poem "Meeting" (1923) - with the coincidence even rifmennoy
pair:
... And the night flowed and floated silently
her satin jet -
that black wolf masks Profile
and your sweet lips ... (1, 611).
In the poem "I remember in a plush frame ..." (1923):
... I was waiting, where he turned the corner,
Transverse amber with a groan
flowed into the raw mirrors ... 16
Similarly fingering Godunov-Cherdyntsev trying to write a poem to Zina
Mertz: "What is your name? You're semi-Mnemosyne, polumertsane in your name
- and strange to me at dusk in Berlin with poluvidenem wander alone. But a
bench under a lime tree lit ... You come alive in a fit of tears: I see the
eye, this lives dazed and pale shining hair ... Night our poor possessions -
a fence, a lamp, an asphalt surface - put the aces in the imagination to a
world at night play! .. About swear that before the end of the road you will
only fiction is true ... Our time has come ... Night Light summer "(4,
337-338). (By the way, in verse Godunov-Cherdyntseva also arises game motif,
but not chess and card, which reinforces the motif of fate in the novel.)
The apparent similarity of images, as well as a number of biographical
circumstances (a coincidence, more or less regular classes Nabokov's chess
composition with the start of an affair with Vera Slonim, the ability to
play Vera shahmaty17) have led to what the research literature in the third
sonnet is interpreted solely in the romantic klyuche18. In particular, in
the first katrene a perceived allusion to the fourth chapter XXVI verse
"Eugene Onegin" (Lenski and foot boat / takes in its scattering), which is
interpreted as a means of assimilation Nabokov lyric hero "romantic lover"
Lenskomu19.
This interpretation, based on the analysis of the isolated parts of the
cycle, it is completely wrong, because it does not take into account the
functional role of the third sonnet in the cycle - the final stage of
purification scheme. The lyrical hero Nabokov ironically refuses to
"legitimate", that is beaten, the answer to the romantic moves of the night
and commit (like gnome from the first sonnet, and the originator of the
second task) an unexpected turn. Although it provokes at writing love poems,
he is completing his chess problem, beautiful as a sonnet, in which
everything is subordinated to the movement of his zamysla20: even "the cries
of your" translated into the language of chess turned into exclamation
points, which in chess decided to celebrate the strong moves (Nabokov uses a
similar method in the "Defence Luzhin (2, 421)). But this move - a surprise
at first glance: the problem was conceived long ago, while observing the
play of the Spaniard, and a dwarf, which has developed a magical combination
that goes back perhaps to the classical positions Filidora21. Therefore, the
Philidor and the players of the first sonnet should see traces of this
combination in the problem (although the Spaniard and the dwarf does not
necessarily know who its real author - just as Ostap Bender in "The Twelve
Chairs" is unaware that the game 18 Spanish debuts and 12 defenses Filidor).
In the second sonnet chess vision matured during the decision strange
problem, something (possibly compound so), recalled, or continue the party
at a coffee shop, and, finally, in the third sonnet, he has found his form:
I think my Spanish, and the dwarf
Philidor and - in order lace
miserly figures, playing under -
see everything - that pours moonlight,
I love the enthusiasm and clear
that the board has made me a sonnet.
Incidentally, Nabokov connect the two themes of love and chess is indeed
a poetic antecedent, the time is much closer than Pushkin games played in
the summer of 1820 goda22. This is a poem by Boris Pasternak "Marburg"
(1916), included in the collection "Above the Barriers" (1917). Story
"Marburg" begins a love failure, and ends with a night game of chess. An
important role in the "Marburg" is the motif of sleeplessness, of which love
turns into a poetic:
"Step inside, and once again," - repeated to me instinct
And lead me wisely, as the old scholar,
Through confused, ancient, crude maze
Heated trees, lilacs and passion. <...>
Why should I be afraid? I firmly grammar
Insomnia know. And I do not wander
At a bare slab barefooted sleepwalker
Amid the limes and birches of ivory.
After all night to play chess sit
With me on the moon, the parquet floor.
Acacia smells, and the windows wide open,
And passion, as a witness, sedeet in the corner.
And poplar - the king. Queen - insomnia.
And the queen - a nightingale. I am drawn to the nightingale.
And the night wins, figures aside,
I'm white morning face uznayu23.
On Fri, Aug 13, 2010 at 9:46 PM, Don Johnson <chtodel@cox.net> wrote:
> abba abba ccd ede: Об одной партии Владимира Набокова <<<http://www.euruchess.org/cgi-bin/index.cgi?action=viewnews&id=2059>
> >> <http://www.euruchess.org/cgi-bin/index.cgi?action=viewnews&id=2080> Опубликовано
> 22/04/09 в 10:17:59 GMT+02:00 EuRuChess [image: Найдено в Интернет]<http://www.euruchess.org/cgi-bin/index.cgi?action=topics&viewcat=ie>
>
>
> *НЛО No.86, Мария Пироговская*
> Search the archive<http://www.google.com/advanced_search?q=site:listserv.ucsb.edu&HL=en> Contact
> the Editors <nabokv-l@utk.edu,nabokv-l@holycross.edu> Visit "Nabokov
> Online Journal" <http://www.nabokovonline.com> Visit Zembla<http://www.libraries.psu.edu/nabokov/zembla.htm> View
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>
> All private editorial communications, without exception, are read by both
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>
--
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Manage subscription options: http://listserv.ucsb.edu/
and English, but here is google's translation of the submitted text into
English:
Found in the Internet
UFO No. 86, Maria Pirogovskay
Willingly comparing the plot formation of chess composition, Nabokov
denied the existence of encrypted chess problems in their proze2 that, of
course, does not prevent researchers discern the literary analogy of chess
moves (especially in the novels "The Luzhin Defence," "Dare," "Lolita, Pale
Fire , "" Pnin, "" The Real Life of Sebastian Knight) 3. But the real lyric,
according to Nabokov, and plot, but because a relationship with a chess
composition. In the article "New Poets" (1927), Nabokov wrote: "... in my
opinion, the plot is as necessary a poem, like the novel. The most beautiful
lyric poems in Russian literature owes its strength and tenderness is the
fact that all of them by moving to an inevitable harmonic climax. Verses, in
which there is no unity, the peculiar lyrical fable, and there is only a
mood - casual and short-lived, as the mood itself is "4. Perfect example of
such a movement to "harmonic climax" Nabokov considered "correct sonnet,"
that is a sonnet written in iambic pentameter with the French scheme
rifmovki5.
Nabokov himself wrote 18 of these sonnets (not counting translations -
from Ronsard and Shakespeare). Half written before 1924 (1916 - "Happiness",
"Do you remember how my lips are numb ..." 1918 - "I returned to my love
forgotten ..." "serene heights and silence ..." "I love the unknown stations
..." , 1919 - "Acropolis", 1921 - "Clouds" (2), 1922 - "Sonnet"). The
remaining 9 - in 1924 ("The car in the mountains", "Death of Pushkin," St.
Petersburg: three sonnets, "" Three sonnets of chess "," Country of poetry
"). More "correct" Nabokov did not write sonnets, apparently, finding the
potential of this verse form a solid closed. However, he did not leave the
experience with other types of sonnets (eg, inverted sonnet in The Gift ")
and Onegin stanza, which elevates to sonetu6, and went on to discuss the
semantics of the sonnet in his novels and autobiographical prose,
emphasizing the" harmonic "aspect that bring together the sonnet with the
other view of creativity, requiring the same classic tuned and transparency
- a chess composition.
For the hero of "Dara", Nabokov alter ego Fyodor Godunov-Cherdyntseva
"compilation problem differs from the game about as verified sonnet differs
from the controversy publicists" (4, 351) in the preface to the anthology
"Poems and Problems" (1970) Nabokov complements the shape similar metaphor,
calling the problem "poetry of chess" 7. Compose a poem and drawing task,
Godunov-Cherdyntsev sequentially through the same phases: 1) nucleation
phase of design, the initial internal stimulus, 2) phase of understanding
the problem - a poetic or chess, which leads to the expression of ideas in
the subject or in connection therewith, 3) phase of purification and
progressive realization zamysla8. This is the same as a whole, according to
Nabokov, the dynamics of creative work being done by way of unexpected
findings, a brilliant match, rhyme, the same topic, to complete the
individual works.
The issue of creativity, understood only in this way and not otherwise,
and is the subject of the series "Three sonnets of Chess", published in
November 1924.
I
In the rook moves - iambic size,
in the ducts of the elephant - anapaest. Polutanets,
poluraschet - this is chess. From drunks
in a coffee shop noise, the smoke air ser.
They fought and Philidor Dyuser.
Now sit - brovasty evil Spaniard and
Dwarf with glasses. Lies strange gloss
in the veins of hands and eyes - like a chimera.
Next boat was iambic feet.
Then again - meditation. "Caramba,
give up now! "But lingers still dwarf.
And then pushed nail color of iodine
figure. Yes! He donates elephant
magic checkmate in four moves.
II
Movement of rhymes and dancers cruise
is a chess problem. Show:
here, seven white and black, only three
The lighting and gloomy squares.
Blackens queen among horses humpback,
and pawns in the night and dug as amber.
Decisions are waiting and servants, and the kings
in carved crowns and carved boots.
Torx trick queen.
Teasing, patterned path
misses the idea - and again the mind in darkness.
But the fairy rhymes - on a chessboard
is otbleskivaya in the lacquer,
and - easy - takes off on the toe.
III
I did not write the laws of the sonnet,
even in the poplars not slept nightingales
but, touching a pawn, a rook,
Create problem until dawn.
And concluded in the pattern of its response
our whole night, all your cries,
and the shadow of the branches, and bright jet
fluid stars, and skill of the poet.
I think my Spanish, and the dwarf
Philidor and - in order lace
miserly figures, playing under -
see everything - that pours moonlight,
I love the enthusiasm and clear
that the board has made me a sonnet (1, 629-630).
Association works in a cycle determines the integrity of the double
standard - components of the cycle of works and the whole cycle - and
activates the perception of the parameters of the comparison works cyclic
ryada9. In this case, it contributes to the brilliant combination that leads
to the mat, the first sonnet, solving chess problems from the second and the
creation of a task from a third perceived as rhyming and inextricably linked
under a single creative process, the equivalent stages in the process of
poetry and in general with his source of inspiration.
The last verse of the third sonnet (and the last verse of the cycle) -
that the board has made me a sonnet - equalizes the task with a solid verse
form. One of the common signs of the problem and the literary works of
Nabokov indicates in the "other coast" - a clear logical development,
combined with an abundance of traps and "illusory solutions" (5, 320). Another
important feature - an opportunity and a sonnet, and the problem regain ago,
"Riposto" restoring and recognizing the structure. Sonnet can be trimmed
(Russian poetry knows examples of headless and half sonnets) 10 or topple -
in the "Dare" Godunov-Cherdyntsev looped plug a novel about Chernyshevsky
sliced and inverted sonnet. (Aware of the unusual nature of this sonnet,
Nabokov finds it necessary to signal this to the reader and describes the
helplessness of a layman, faced with a departure from the usual scheme:
"After about two weeks after the release of" Life Chernyshevsky "answered
the first, artless echo. Linyov Valentin (Warsaw) wrote as follows:" A new
book by Boris Cherdyntseva opens six verses, which by some reason calls
sonnet (?) ... "(4, 475) 11). It is equally important that the poetic
sequence type AAb CCb dEEd dEEd perceived as a sonnet, and the reader to see
the intrigue in a certain arrangement of pieces on the board, he could
finish the task in a specified number of moves or to restore the previous
moves (especially in the problems on retrograde analysis).
2
The "staggered cycle" three-way logical structure consolidated and
enhanced by the fact that each sonnet contains a logical expression of two
types - primary, inline inherent in the sonnet, a priori, or secondary,
formed by the interaction of the parts at the level of the cycle. This
prompted the researcher to vchityvanie in cycle dialectical sonnet
struktury12. But the logic of the cycle does not coincide with the
dialectical logic of the sonnet, part and whole are not isomorphic, but
rather, it resembles the logic of proportion, refinement and logic approach,
groping and embodiment - in short, the logic of creativity, the opposite
uncreative perception of things "in the nominative case, a total of
givenness . Developing motivation, clarifying each other's images,
historical and literary associations which cut across a chess cycle, form a
dense field, connecting part of the cycle in a dynamic sequence: the
creative impulse, harmonic repetition-echo discovered by the artist, and
independent work, emerging from the finding of the rhyme.
The plot of the first sonnet, the most "Chess" from the cycle, is a
party with an unexpected outcome, which play out in a certain coffee shop,
two colorful players. The Spaniard among the possible extensions of the
Party does not see a single, leading to the Shah, which allows us to play a
combination of dwarf elephant victim. Sonnet ends with the formula
"checkmate in four moves, which is used in the composition, - thus seems to
invite the reader to solve the problem of the second sonnet. To understand
what lies behind the creative impulse in the first sonnet, the reader to
calculate the unknown - namely, to figure out who the Spaniard and the
dwarf, and that stands for comparing chess moves with poetic dimensions.
It is likely that a Spaniard and a dwarf have real prototypes. A few
months before the publication cycle in New York, an international chess
tournament, which for months (from March 16 to April 16, 1924) was a focus
throughout the Western media - from the Reuters news agency before the
emigre publications. Reports of the tournament were accompanied by
commentaries GMs: for example, "Berliner Zeitung" referred to the opinion
Siegbert Tarrasch. In Paris, "Days" and "Latest News" regularly went chess
reviews Eugene Znosko-Borowski, and the Berlin newspaper "Yesterday" on the
wave of interest in chess tournament opened a special department. The main
intrigue of the tournament was a fight between former world champion Emanuel
Lasker, world champion Jose Raul Capablanca, Lasker, who lost the title in
Havana three years earlier. Rivalry Chess began in 1914 in St. Petersburg
(then Lasker won) and in the same year continued blitsmatchem in Berlin
(Capablanca won). In the New York tournament Capablanca lagged behind Lasker
and a half points and they do not have to play against each other: won
Lasker and Capablanca won second place.
Both GM had already established characters in the chess media. Lasker,
though he was only 55 years, the press called "the great old man." The
essays about him constantly referred to his scientific status - doctor,
professor of mathematics and psychology - as well as its small stature,
stained mustache (Lasker never parted with a cigar, and during the game
sitting in a cloud of tobacco smoke), restraint and inner significance of
behavior. Lasker, regarded as the founder of "psychological" school games:
it "approach to chess in the light of psychological features of an opponent
is often expressed in the maneuvers, seem logical, in the weakening of that
Lasker would tolerate in their position," letting the party straight to the
abyss "(Richard Reti), but while denying opponents opportunities to appraise
the position of the standard, forcing them to make mistakes and ultimately
lose ... 13. Choosing options that, according to his feeling, not like a
rival, though not formally bear a direct threat, and even led to the loss of
his own figures, Lasker led "game with the enemy" and not "on board".
His rival - forty Cuban Jose Raul Capablanca - was considered a
brilliant player, but a selfish, arrogant and rude. He was in the diplomatic
service, the reputation of the "Latin lover", willingly led a secular life. It
was believed that he was never prepared for tournaments, however, thanks to
his gift, almost always wins if the opponent does not have enough endurance
and patience to resist its rapid atakam14.
Given these facts, the description of the players from the first sonnet
is easy to see the projection of Lasker and Capablanca, Nabokov may well
have to rely on recognition of prototypes, especially because their names
were on the hearing. But it is described in the first sonnet is a real
party? Viewing parties held Lasker and Capablanca did not find any in any
way like a lot of poems Nabokov. In addition, the Spaniard calls the enemy
to surrender, which gives it not a professional and amateur, and the party
turns into a soldier - but from no less dramatic - fight in a noisy
kofeyne15. Rather, the party of the first sonnet entirely fictitious. She
plays the eternal confrontation, a struggle between two chess temperaments:
the quiet, prone to subtle cumulative moves and complex traps, and rapid
acting quickly and decisively (or, if you use the terminology of Nabokov
Luzhin, "quiet" and "strong").
Even more puzzling origin of chess moves compare with the poetic
dimensions: whether pentameter and anapaest - a metaphor of direct (vertical
and horizontal) and indirect (diagonal) moves the chess pieces, or an
indication of how many cells have moved a rook and a bishop. To answer this
question we have to turn to the third sonnet cycle.
3
The third sonnet, which refers to independent creativity, disguised love
with the same vocabulary of images and motifs that Nabokov used in poems
1923-1924 years on Vera Slonim, and thematically similar fragments of a
"gift":
our whole night, all your cries,
and the shadow of the branches, and bright jet
fluid stars, and skill of the poet.
Wed in the poem "Meeting" (1923) - with the coincidence even rifmennoy
pair:
... And the night flowed and floated silently
her satin jet -
that black wolf masks Profile
and your sweet lips ... (1, 611).
In the poem "I remember in a plush frame ..." (1923):
... I was waiting, where he turned the corner,
Transverse amber with a groan
flowed into the raw mirrors ... 16
Similarly fingering Godunov-Cherdyntsev trying to write a poem to Zina
Mertz: "What is your name? You're semi-Mnemosyne, polumertsane in your name
- and strange to me at dusk in Berlin with poluvidenem wander alone. But a
bench under a lime tree lit ... You come alive in a fit of tears: I see the
eye, this lives dazed and pale shining hair ... Night our poor possessions -
a fence, a lamp, an asphalt surface - put the aces in the imagination to a
world at night play! .. About swear that before the end of the road you will
only fiction is true ... Our time has come ... Night Light summer "(4,
337-338). (By the way, in verse Godunov-Cherdyntseva also arises game motif,
but not chess and card, which reinforces the motif of fate in the novel.)
The apparent similarity of images, as well as a number of biographical
circumstances (a coincidence, more or less regular classes Nabokov's chess
composition with the start of an affair with Vera Slonim, the ability to
play Vera shahmaty17) have led to what the research literature in the third
sonnet is interpreted solely in the romantic klyuche18. In particular, in
the first katrene a perceived allusion to the fourth chapter XXVI verse
"Eugene Onegin" (Lenski and foot boat / takes in its scattering), which is
interpreted as a means of assimilation Nabokov lyric hero "romantic lover"
Lenskomu19.
This interpretation, based on the analysis of the isolated parts of the
cycle, it is completely wrong, because it does not take into account the
functional role of the third sonnet in the cycle - the final stage of
purification scheme. The lyrical hero Nabokov ironically refuses to
"legitimate", that is beaten, the answer to the romantic moves of the night
and commit (like gnome from the first sonnet, and the originator of the
second task) an unexpected turn. Although it provokes at writing love poems,
he is completing his chess problem, beautiful as a sonnet, in which
everything is subordinated to the movement of his zamysla20: even "the cries
of your" translated into the language of chess turned into exclamation
points, which in chess decided to celebrate the strong moves (Nabokov uses a
similar method in the "Defence Luzhin (2, 421)). But this move - a surprise
at first glance: the problem was conceived long ago, while observing the
play of the Spaniard, and a dwarf, which has developed a magical combination
that goes back perhaps to the classical positions Filidora21. Therefore, the
Philidor and the players of the first sonnet should see traces of this
combination in the problem (although the Spaniard and the dwarf does not
necessarily know who its real author - just as Ostap Bender in "The Twelve
Chairs" is unaware that the game 18 Spanish debuts and 12 defenses Filidor).
In the second sonnet chess vision matured during the decision strange
problem, something (possibly compound so), recalled, or continue the party
at a coffee shop, and, finally, in the third sonnet, he has found his form:
I think my Spanish, and the dwarf
Philidor and - in order lace
miserly figures, playing under -
see everything - that pours moonlight,
I love the enthusiasm and clear
that the board has made me a sonnet.
Incidentally, Nabokov connect the two themes of love and chess is indeed
a poetic antecedent, the time is much closer than Pushkin games played in
the summer of 1820 goda22. This is a poem by Boris Pasternak "Marburg"
(1916), included in the collection "Above the Barriers" (1917). Story
"Marburg" begins a love failure, and ends with a night game of chess. An
important role in the "Marburg" is the motif of sleeplessness, of which love
turns into a poetic:
"Step inside, and once again," - repeated to me instinct
And lead me wisely, as the old scholar,
Through confused, ancient, crude maze
Heated trees, lilacs and passion. <...>
Why should I be afraid? I firmly grammar
Insomnia know. And I do not wander
At a bare slab barefooted sleepwalker
Amid the limes and birches of ivory.
After all night to play chess sit
With me on the moon, the parquet floor.
Acacia smells, and the windows wide open,
And passion, as a witness, sedeet in the corner.
And poplar - the king. Queen - insomnia.
And the queen - a nightingale. I am drawn to the nightingale.
And the night wins, figures aside,
I'm white morning face uznayu23.
On Fri, Aug 13, 2010 at 9:46 PM, Don Johnson <chtodel@cox.net> wrote:
> abba abba ccd ede: Об одной партии Владимира Набокова <<<http://www.euruchess.org/cgi-bin/index.cgi?action=viewnews&id=2059>
> >> <http://www.euruchess.org/cgi-bin/index.cgi?action=viewnews&id=2080> Опубликовано
> 22/04/09 в 10:17:59 GMT+02:00 EuRuChess [image: Найдено в Интернет]<http://www.euruchess.org/cgi-bin/index.cgi?action=topics&viewcat=ie>
>
>
> *НЛО No.86, Мария Пироговская*
> Search the archive<http://www.google.com/advanced_search?q=site:listserv.ucsb.edu&HL=en> Contact
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