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Jansy Mello: Brian Boyd in his book “Nabokov's Pale Fire: The Magic of Artistic Discovery” and W. Dowling, in the article “Who's the Narrator of Nabokov's Pale Fire?” (2003), provide a schematic view before they present their own interpretation and proofs for their arguments.*
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* Here is his own view: “I think that John Shade and Kinbote are creations of a narrator resembling Vladimir Nabokov, and that this narrator "shows himself" at a certain crucial point in a way that cannot be denied.[…] the Nabokov-like narrator is telling the story as a voice that, if it survives, will have exactly the same status as John Shade and Kinbote. What, then, about all those ghosts and voices and "communications from beyond"? I think the Nabokov-like narrator is saying something like this: "A work of art originates in the consciousness of a creator, but it does so in a manner of speaking 'from the outside' ." This is what the ancient invocation of the Muses was about [ ] When the creator has finished a work of art, he's still present in the world, but there is this 'other him' that is caught forever in the words of the work that has come to birth through him." [… ] Gradus “IS is the "death" that occurs when, the consciousness of an artist having "passed into" a speaker or character inside a work of art, the work is completed and its creator is marooned outside it. Gradus is the moment at which the spirit of a creator is immortalized in a work of art and the poet or artist goes back temporarily to being just an ordinary human being. [ …] ( https://www.rci.rutgers.edu/~wcd/palenarr.htm).”
Sergey Sakun: Two additional arguments to point of view of W. Dowling:
1) /From my LJ 25.04.2015/ Here is a same problem (2in1) of the “reality” S Knight or his biographer V. Or, why was V “some six years” younger then S Knight.
V. Nabokov
The Real Life of Sebastian Knight
"I have not been able to obtain a picture of the house where Sebastian was born, but I know it well, for I was born there myself, some six years later*. We had the same father: he had married again, soon after divorcing Sebastian's mother".
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*”Conventions or not, but it was my birthday too - small difference of sixteen years, that's all”. (PF)
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В. Набоков
Другие Берега
"Итак переходим к лету 1905 года: мать с тремя детьми в петербургском имении; политические дела задерживают отца в столице. В один из коротких своих наездов к нам, в Выру, он заметил, что мы с братом читаем и пишем по-английски отлично, но русской азбуки не знаем (помнится, кроме таких слов, как «какао», я ничего по-русски не мог прочесть). Было решено, что сельский учитель будет приходить нам давать ежедневные уроки и водить нас гулять".
/V. Nabokov
SPEAK, MEMORY
"This was in the beginning of 1905. State matters required the presence of my father in the capital; <…>. During one of his short stays with us in the country that summer, he ascertained, with patriotic dismay, that my brother and I could read and write English but not Russian (except KAKAO and MAMA). It was decided that the village schoolmaster should come every afternoon to give us lessons and take us for walks"./
"… but the hero remains, for, try as I may, I cannot get out of my part: Sebastian's mask clings to my face, the likeness will not be washed off. I am Sebastian, or Sebastian is I, or perhaps we both are someone whom neither of us knows". (RLSKn)
2) / From my LJ 28.02.2012/ This problem of person (or personage) transfiguration was mentioned very alike in the Marcel Proust’s “Time Regained”.
“Upon that, Doctor Cottard, with that delicacy which reveals the man of distinction, returns to the history of the pearls and informs us that catastrophes of that kind produce in the mind of people distortions similar to those one remarks in organic matter and relates in really more philosophical terms than most physicians can command, how the footman of Mme. Verdurin herself, through the horror of this fire where he nearly perished, had become a different man, his hand-writing having so changed that on seeing the first letter which his masters, then in Normandy, received from him, announcing the event, they believed it was the invention of a practical joker. And not only was his handwriting different, Cottard asserts that from having been a completely sober man he had become an abominable drunkard whom Mme. Verdurin had been obliged to discharge. This suggestive dissertation continued, on a gracious sign from the mistress of the house, from the dining-room into the Venetian smoking-room where Cottard told me he had witnessed actual duplications of personality, giving as example the case of one of his patients whom he amiably offers to bring to see me, in whose case Cottard has merely to touch his temples to usher him into a second life, a life in which he remembers nothing of the other, so much so that, a very honest man in this one, he had actually been arrested several times for thefts committed in the other during which he had been nothing less than a disgraceful scamp. Upon which Mme. Verdurin acutely remarks that medicine could furnish subjects truer than a theatre where the humour of an imbroglio is founded upon pathological mistakes, which from thread to needle brought Mme. Cottard to relate that a similar notion had been made use of by an amateur who is the prime favourite at her children's evening parties, the Scotchman Stevenson, a name which forced from Swann the peremptory affirmation: 'But Stevenson is a great writer, I can assure you, M. de Goncourt, a very great one, equal to the greatest.'”
And that is significant, this fragment of the Proust’s novel as a whole (from words “When, before blowing out my candle, I read the passage which I transcribe further on…” to “I stopped my reading there for I was leaving the following day…”) contains a large number another allusions to “Pale Fire”. This quote could be the subject of a small article.
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Best regards,
Sergey Sakun mailto:svs79@mail.ru
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