Past posting: btw: While perusing the novel I also discovered that the nocturnal bats play an important part in Charles Kinbote’s notes. He compares Gradus to a cross between a bat and a crab, there’s a reference to a painting by Aunt Maud with a bat and a lot more.// In sum, what was really VN’s opinion about Shade’s choice to employ heroic couplets when this is set side by side with what is known about the translations of the Odyssey by Pope and Keats, and his theories about translation?


A correction! (And my excuses for returning to the same subject with such a short interval).

I wrote “translations of the Odyssey by Pope and Keats” but, of course, I meant to write “Pope and Chapman” while I was conjecturing about Keats’ enthusiasm with the latter, in contrast with VN’s theories about translation - plus the references made to both Chapman and Pope in “Pale Fire”.

By avoiding the repetition of “Homer” (with its particular meaning of “home” in the English language) I substituted his translation by “the Odyssey” - but I left the “Iliad” out. Sorry.


PS: After discovering the unexpected recurrence of “bats” in PF I remembered them in “Spring in Fialta” : “ "Look here—what if I love you?" Nina glanced at me, I repeated those words, I wanted to add... but something like a bat passed swiftly across her face, a quick, queer, almost ugly expression, and she, who would utter coarse words with perfect simplicity, became embarrassed; I also felt awkward.... "Never mind, I was only joking," I hastened to say, lightly encircling her waist.”


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