Critical statements of Nabokov about other poets. Spore with God: Why Nabokov wrote "Lolita
O Fedor Dostoevsky. In his lectures on Russian literature, Nabokov wrote about Dostoevsky, who he was passionately loved: "I feel a sense of some awkwardness, speaking of Dostoevsky. In my lectures, I usually look at the literature under the only interesting angle to me, that is, as a phenomenon of world art and the manifestation of personal talent. From this point of view, the Dostoevsky writer is not great, but rather mediocre, with outbreaks of unsurpassed humor, who, alas, alternate with long waste of literary tribalities. In the "Crime and Punishment" of Raskolnikov, it is unknown why kills an old-year-older and her sister. Justice in the image of an inexorable investigator is slowly selected to him and in the end makes him publicly confessed in the deed, and then the love of a noble prostitute leads him to the spiritual revival that in 1866, when the book was written, did not seem so incredibly vulgar, as now When an enlightened reader is not inclined to decease with respect to noble prostitutes. However, my difficulty is that not all readers to whom I appeal to, enlightened enough people. "
About Boris Pasternak. One of the most unloved novels of Nabokov was "Dr. Zhivago" Boris Pasternak. It is curious that this book in the United States became the rival "Lolita" on the essays and all sorts of literary ratings - in fact, for Vladimir Vladimirovich, it became another reason to fall with criticism on the prose of his opponent. He said: "" Dr. Zhivago "is a nearby, awkward, trivial and melodramatic affair with template situations, sustained lawyers, implausible girls and banal coincidences. In a word, Pasternak's prose is far from his poetry. As for rare successful metaphors or comparisons, they are by no means saved the romance from the row of provincial banality, so typical of Soviet literature. "
About Nicolae Chernyshevsky.In his gifter "Dar" of Nabokov, a whole chapter devoted to Nikolai Chernyshevsky and, in general, the image of a revolutionary writer was ridiculed. We will not give long quotation - once the author "Lolita" was so characterized by the creator of the novel "What to do?": "Philosophically of the subprove and artistically inconsistent Pachkun."
About Ivan Bunin.Talented authors rarely love each other - interferes with rivalry. This thesis perfectly confirms the history of the relationship of Ivan Bunin and Vladimir Nabokov. In the youth of Nabokov, the mastted writer was manast, and even somehow sent him his own book with the signature of "Grand Master from the diligent student", but later the relationship would deteriorate, and the author "Lolita" Male Bunin did not otherwise, as a "old skinny turtle". However, the creator of the "Dark Alley" never remained in debt, and at any case, Vladimir Nabokov criticized for great conceit, but he could not not give his talent. It is known that somehow he said about him: "The monster - but what a writer!". In recent years, Bunin continued to jealously follow the work of Nabokov, and made the next record in the diary, characterizing the work of his eternal competitor: "This boy snatched a gun and put all the old people, including me."
About Ivan Turgenev. Nabokov treated very well to the work of Turgenev, although, however, he did not consider it ideal: "Like most writers of their time, Turgenev is always unnecessary and unequivocal, he does not leave any shade for reader intuition, puts forward an assumption that it is immediately boring and tedious Explain what exactly he meant. Carefully discharged epilogs of his novels and leads seem to pain artificial, the author of the skin is climb, sweaty reader curiosity, consistently considering the fate of heroes in a manner, which can be called artistic with a large stretch. He is not a great writer, although very cute. "
About Maxim Gorky. By giving tribute to the play "At the bottom", Vladimir Nabokov, all the rest of the work of Maxim Gorky appreciated very low. He wrote so much about his prose: "Note that the schematics of the Gorky heroes and the mechanical construction of the story go back to a long-dead genre of morality or medieval" morality ". And pay attention to its low cultural level (in Russian it is called pseudo-sensitive), which is completely killed for a writer, deprived of vision and imagination (able to work miracles under the pen of even the uneducated author). Dry dyeing and passion for evidence to have a little success require a certain intellectual scope, which was completely absent at Gorky. Feeling that the wretchedness of his gift and the chaotic jade of ideas require something in return, he always focusing the stunning facts, worked on sharp contrasts, expressed the clashes, sought to hit and shake imagination, and since his so-called powerful, irresistible stories took away the favorable reader from any An objective assessment, Gorky made an unexpectedly strong impression on Russians, and then foreign readers. "
About Joseph Brodsky.In 1969, the publisher Karl Proferffer sent Nabokov to Montreux by the Poem Joseph Brodsky "Gorbunov and Gorchakov". In response, Nabokov's wife, faith, sent him a letter written to the writer: "Thank you for your letter, two books and the poem Brodsky. It has many attractive metaphors and eloquent rhymes, but it sinters from the wrong stress, the absence of verbal discipline and, in general, the verbose. However, aesthetic criticism would be unfair due to nightmarish circumstances and suffering hidden in every row of this poem. "
Nabokov and critics
The name of Vladimir Vladimirovich Nabokova (1899-1977) is a mansion among the names of other writers of the Russian Diaspora abroad. First of all, it concerns his fame, his world fame, that resonance, which caused his works. Probably, this recognition is comparable only with the one that Ivan Bunin has received. "Measure" Nabokovskaya popularity is quite easy - one the bibliography of scientific and critical works about it has about a thousand pages. "Explain" this fame is also not difficult. Nabokov is a unique case of "bilingualism" in the history of Russian literature, he owned English as well as Russian. Thanks to this, about half of its works are written in English, including the sensational novel "Lolita".
In December 1922, the book of the cluster poems is coming out, and in January 1923 - a poetic collection "Horny Way". They were signed by the pseudonym "V. Sirin "- the name of one of the three magic birds of Slavic folklore. The sentence of the majority responded to the collections of the reviewers was harsh, but fair - poems are importable and artificial, despite the technical skill of their author. The danger of "someone else's word" for the birth of the word of his own in the case of Sirin noted, for example, K. Mochulsky: "But the legacy presses with his grave pomp: everything, nothing to touch their lively hand, becomes old gold. Their tragedy is that they are young, destined to complete. They are powerless to go further, throw off the family passage.<...> Syrian poems have a big past and no future. "
But insightful reviewers ( for example, Yu. Ayhevanwald) I could see already in these collections the features of the special "Nabokovskaya" poetics, which cannot be confused with any other: curious sounding, bold and unexpected detailing, etc. And already in these first collections, we see the development of those who have become peculiar to the writer "Business card." This is primarily the topic of childhood and memories of the pastwhich largely subordinate to the numerous cultural allocations of collections (Russian poetry of the XIX century, medieval literature, etc.). It is the past that avoids the chaos of the present and hide in this past along with his beloved person.
Emigrant criticism Roman Masha was welcomed benevolently. With the release of "Masha" Nabokov-Sirin paid attention to besides high hopes of the prosair of the "young generation" of emigration, although many reviewers appreciated the novel very unilaterally - as a good socio-domestic narration from emigrant life. But some indicated those features of the poetics of the novel, which will subsequently associate primarily with the name of Nabokov. For example, Yu. Ayhenwald, who wrote two reviews on "Masha", insisted that the content of the book is not exhausted only by the realistic reproduction of emigrant life, on the contrary, this is because Sirin "rather a ghost, shadow and fantasy than reality: It is less indeed, than those distant pre-revolutionary years, when the heroes lived in Russia, at home, and not in the Berlin boarding house, where they brought their fate and author. …"sixteen. These judgments Y. Ayhenwald turned out to be the most far-sighted. Already the second Roman Nabokov-Sirina "King, Lada, Valet" (1928) once and forever dispelled the myth of Sirin as "New Turgenev" emigration. Moreover, since this work, another myth began to be created and tirelessly to grow - the idea of \u200b\u200bNaboka as a writer, who is completely indifferent to the problem of good and evil, which is only interested in the form and style of their books, who betrayed the oblivion of the realistic traditions of Russian literature, the word, "Image »Writer talented, but" incomprehensible ". So, emigrant critic K. Zaitsev In the Paris newspaper "Russia and Slavs", there was very disappointing conclusions: "With a huge poetic tear, with an exceptional stylistic brilliance, the author reproduces the absolute nobility and the idleness of life.<...> Sirin's heroes - "humanoid". They are physiologically similar to people, but horizon emanating from the book, it is determined by the fact that it is only like people who are more terrible than mechanical homunculus. People like people, but only without soul. Scary, fantastic grotesque written by an external manner of sophisticated realism. " The critic was very well noticed by this "external realism" of the writer's manner of Nabokov, who never, actually, did not seek to become a "realist". On the contrary, Nabokova has always been interested in what was hidden behind the veil of the visible "reality", and this special "retirement - the oddrancy" is already felt in the first paragraph of the novel, which describes the scene of the flooding distance of the vocation perrone. Already in this passage, the Motive Motive, "Making" the Heroes of the Peaces of Peace, and Heroes themselves are no one else, as the "king, lady, currency" from the deck of playing cards, briefly placed by the author's fantasy in beautifully painted, but hopelessly butaforsky peace.
In the eyes of criticism takes a brilliant, but separate position. Shakhovskaya: S. Nabokov something brilliant and terrible entered Russian literature.
It refuses some properties of Rus Lit: didactic pathos, sympathy and empathy of the hero, a work as a continuation of life.The textbook of life is that Russian writers are perceived. Writer Estet, Elitar, but read it very wide.
... Why do I generally write? To enjoy, overcome difficulties ... I just love to compose the riddles and accompany their elegant solutions.
Cold individualist, appreciating himself. But his contempt for the crowd, contempt for mass movements, his doubt in everything they appreciate everything.Totalitarian regimes - and his desire to defend the human me, self-sufficient! By itself. Save yourself a face.
Invitation to execution; Cloud, lake, tower; The king is all about it. And the heroes kill and hate for the fact that the hero is not like everyone else. Mass rebellion! Against human suppression.
On Nabokov, a person is very sentimental, gentle, but does not work for the public.At the heart of its aesthetism - the desire to bring to perfection, to bring to beauty, the uprising against the "running time" (~ relates him to Rus Lit). Hence the metaphysical pity for the fragility of human being, and creating ideal texts, he tries to overcome this reality. Prefers concreteness to any abnormalities.
The problem of time, capturing life in a certain word, in a kind of beauty modus.Prose grows out of love, in some form paradoxical. He writes, creates a verbal design and does not hide the fact that it creates a new design. Exposing the author's face.
"Nothing will never change. Nothing will ever die" similar thoughts were both Russian literature - Khodasevich, Pasternak and others.
Nabokov offers other rules of the game, he offers the reader to become an alter-ego of the author and look at his work with his eyes. Hippius: And so confuses, and I want something simple ...
BBK 821.161.1
Yak 83.3 (2 rus \u003d rus) 6-8 Nabokov V.V.
Vladimir Nabokov as ëètepatyphûé critic (perception and analysis of works by A.P. Chekhov)
Vladimir Nabokov AS A LITERARY Critic (Perception and Analysis of the Works of Anton Chekhov)
The article is devoted to the disclosure of the literary and critical position of V.V. Nabokova. The key is the question of determining the view of the classics on the process of creating an artistic work and his perception by the reader. As an example of implementation in the critical text of the principles and installations of Nabokov-criticism, a lecture of the writer about the work of A.P. Chekhov.
The Arcticle Is Dedicated To (Contains) Nabokov "S Critical Opinion. The Key Issue Is the Attitude of the Classic to How a Book-Work Created and How It is interpreted by Readers. AS An Example of Nabokov" S Critical Principles We Can Take the lectures on chehov "S Creative Work by Nabokov.
Keywords: Russian abroad, literary criticism, individual search, artistic creativity, analysis, tradition, vulgarity.
Key Words: Russian Abroad, The Literary Criticism, Individual Search, Art Creativity, The Analysis, Tradition, Platitude.
"Following the right to create, the right to criticize is the most valuable of those gifts that can offer us freedom of thought and speech."
V.V. Nabokov
The results of close attention to the life and creativity of Syrina became a huge number of articles, thematic collections, dissertations, monographs, the opening of the House Museum, the publication of radio and television interviews, the screening of works, the release of documentary biographical films, which indicates the whole that prevailed in the global literary community , Locking direction.
Nabokov's creativity researchers are devoted to their work not only by analyzing the artworks of the author, but also the interpretation of its critical works created in emigration: articles, essays, notes, reviews, lectures on the history of literature. This area of \u200b\u200bresearch is quite natural and interest in it is due to the fact that the criticism of Russian abroad had its own, quite specific features that fundamentally distinguished it from the literary and critical process in Soviet Russia.
The limitations of the reader's contingent and funds for publications, the rare opportunity to publish critical work or even large journal articles entailed genre changes: small forms are dominated in the criticism of the "first wave" of emigration - problem and polemical articles, literary portraits, anniversary notes, essays, reviews. Due to the characteristics of the sociocultural situation in which the emigrant criticism developed, it wore a synthetic character, that is, criticism and literature
towning was less demarcated than in pre-revolutionary Russia and the USSR. In emigration, a huge number of works were written dedicated to the work of Pushkin, Tolstoy, Dostoevsky, Chekhov, their influence on the development of Russian culture, in general, and Russian literature, in particular. This was due to the fact that the commandment for the literary and social activity of the writers of the "first wave" of emigration was the words of Z. Hippius: "We are not in exile, we are in the message." The purpose of "Messages" was the preservation of Russian culture, the continuation and development of the traditions of classical Russian literature and literature of the Silver Century.
Professional, philosophical (religious-philosophical) and artistic (writing) criticism, journalism and memoiristics, therefore, in many articles, the personality-autobiographical principle is pronounced quite brightly.
Not only Navy, but also researchers of creativity of other emigration writers turn to writing criticism in order to see how a look at someone else's creativity through the prism of its own literary and artistic experience, aesthetic search and axiological attitudes. Thus, an analysis of essays, notes, epistolary confessions, various kinds of judgment on the literary process, reflected in lectures and performances, gives a clear idea of \u200b\u200bthe literary and critical position of the author.
And if "literary criticism is a predensive, intuitive-intellectual transmission of verbal-artistic texts, identifying their hereditary historical and cultural code, visible and invisible to the naked eye of the finest threads, which this text is firmly tied to a long-time aesthetic and ethical experience," then any reader will Interesting interpretation of a particular artistic work by a person who himself is a writer, and therefore the creator of the unique world and characters.
In order to answer the question of which the researcher (critic) was V. Nabokov, it is necessary to deal with what position he approached the analysis of the "Alien Word" and that was the initial criteria for such a parsing.
V. V. Nabokov's opinion on the process of creating an artistic work and his perception by the reader is set forth in the article "The art of literature and common sense". Here the author opposes irrationality and common sense, explaining that "common sense in principle amoral", since he ruins ideas and images created by imagination, and the power and importance of imagination are in the ability to see the qualities of familiar things in a completely unexpected light. To see in the next world in which it allows you to make the norms of irrational, amazing. The essence of the irrational norms, according to Naboka, is the "superiority of the detail above the generalization, in the superiority of a part that is more than a whole" in the ability to surprise the trifles - to look into the "Shoucles of the Soul".
Such categories as irrationality, otherworldness can be considered key in the artistic world of Nabokov. Based not only on the analysis of the works of the author, his comments presented in various clauses of articles and interviews, but also on the fact that Nabokov is the heir of the culture of the Silver Age, under the otherworldness we will understand the immediate feeling of the mystery, the surrounding person, faith in predictions, prophetic dreams , the existence of ultrapure.
In the "Preface" to the posthumous edition of his Russian poems (1979), Vera Evseevna Nabokova emphasizes that "everything he wrote was impregnated<...> This gave him his endless cheerfulness and clarity even with the greatest experiences. " Nevertheless, Vladimir Vladimirovich himself never gave the definitions of otherworldly,
the idea of \u200b\u200bthe value of this phenomenon in the work of the Nabokova reader can form on the basis of its evasive responses in an interview or from the practice of analyzing its works.
An analysis of the works of leading nets devoted to the study of the problem of the existence and the importance of the transcendental in the works of the writer shows that Vladimir Vladimirovich sees in irrationality (otherworldness), Vladimir sees a source of artistic creativity. The few of their Heroes of Nabokov gives the ability to intuitive insight, the feeling of highness or the gift of prophetic dreams, which indicates a reverent attitude of the author to such capabilities. For example, in the autobiographical novel, "Dar" undertaken the connection of the main character - the writer with the other world: "It was a conversation with a thousand interlocutors, of which only one was real, and this real had to catch and not to lose hearing," he<...> It was confident that the embodiment of the plan already exists in a certain other world, from which he [Godunov-Cherdyntsev] translated it into this. " This thought is one of the key in the article "The art of literature and common sense." On the process of creating an artistic work of Nabokov writes: "Pages are still empty, but strangely it is clear that all the words are already written by invisible inks and are only praying for vision." This suggests that, according to Nabokov, all works of artistic creativity are in a different space and time and all that remains the artist is to recognize them and write them down.
According to Nabokov, in the world of the writer there is no place for common sense, because it is faith in irrational and special attention to the details gives the details and freedom to work: "The Creator writer is the Creator in that particular sense that I try to convey - it certainly feels something What, rejecting the world of obviousness, getting on the side of the irrational, illogical, inexplicable and fundamentally good, he makes something roughly similar to how the Spirit could act in a wider and appropriate scale when his time comes.<...> Present writer<...> With ready-made values \u200b\u200bdoes not have: he must create them itself. Writing art is a completely worthless thing if it does not imply the ability to see the world primarily as a storage room. "
According to Naboka, the task of this writer is an individual search: the ability to move away from the generally accepted genre-thematic canons, creative courage, bright, original, unusual discoveries - all distinguishes the true artist.
Repeatedly in articles, interviews, letters, the writer unequivocally expressed "general ideas", including in this concept all sorts of generalization.
Vladimir Vladimirovich was not tired of repeating that such ideas are destructive for imagination and for individual aesthetic search, therefore, for creativity. In an interview with 1961 Nabokov frankly declares: "I hate common ideas. Therefore, I have never signed a single manifesta in my life and was not a member of a single club. " In Essay "On Generalities", he calls generalizations by the "demon", a fan of such words as an "idea", "flow", "influence", "period", "epoch".
As we see from the foregoing, hostility to "general ideas" and confidence in irrationality and otherworldness is an important part of the individual-copyright vision of the process of creativity: "Anyway, this process can still be reduced to the most natural form of creative tremies - to a sudden living image, lightning Built from heterogeneous parts, which opened everything immediately in the starry explosion. " The ideal reader in the world of Nabokova is the one who can see the artwork "How it was the author per minute plan, as if the book could read the same way as a picture of the picture."
Nabokov-criticism is interesting individually-author's concept of creating a artistic work, he does not pay attention to the type of cultural consciousness of the writer, the main thing is private discoveries and personal values. He sees the text as a universe, in which the real and super-liquid world coexist. And with the bigger confidence, the author of the artistic work belongs to the otherworldly peace and its transcendental knowledge, topics writes about this author with great respect.
In the context, the problem of identifying the successful relations of V. Nabokov with a Russian literary classics is allocated and, one can say, is a representative appeal of the writer to the work of A.P. Chekhov. Nabokov himself, being very scrupulous in the assessment of his predecessors, never hid it with special significance to identify its aesthetic principles. It is not by chance that he admitted to the "Jubilee Notes" in the article: "I would take it with myself to another planet." Chekhov is given a significant proportion of attention in the literary and critical work of V. Nabokov.
In 1948, V. Nabokov received a doctrine of the department of Slavistics at the University of Cornell, where they were read lecture courses "Masters of European Prose" and "Russian literature in translations". And in 1981, these materials were collected and first published in the book "Lectures in Russian Literature". In lectures on Chekhov Nabokov analyzes the stories of the "Lady with a dog", "in the ravine" and the "Seagull" play.
Formally lectures are retelling Chekhov texts. The lecturer comments are few and brief, so they should be considered in the context of the literary and critical concept of Nabokov.
As we have already been noticed, he does not sharpen attention on the era, into which the text was created, is not looking for political assesses or generalizing morality. The main thing for criticism is to disclose for readers (listeners) individually-author's vision of the world of the writer, whose text of Nabokov analyzes.
The most indicative in this sense is the analysis of the Naboka Story of Chekhov "Lady with a Dog". Speaking about the composition, the lecturer highlights in the story of 4 parts and denotes the culmination of the development of action, accompanying it by retelling the key moments, quotes from the text and its comments.
Analyzing the first part of the story, Nabokov focuses on the ability of Chekhov to see the world through the prism of the smallest details: "Immediately notice the magic of the details", "the glimpse of the Chekhov system to transmit the situation with the most expressive details of nature." This is explained by the fact that the detachable descriptions and obsessive emphasisings were alien to the poetic of the Nabokov himself. He believed that art could not be an instructive goal. The purpose of art in creating a new reality, not imitating life, but a new, individually author. This reality and develops from the "minor details", the strokes that the artist of the Word displays that by chance.
Next, the lecturer goes to the second part of the story, where it leads a large quote from the text, leaving it without comment. But in the context of his paintings of the world, we understand why Nabokov gives exactly this passage: "In Oreanda sat on the bench, not far from the church, looked down on the sea and silent. Yalta was barely visible through the morning fog, on the tops of the mountains, white clouds stood motionless. The foliage did not move on the trees, shouted the cicadas and the monotonous, deaf noise of the sea, who came from the bottom, spoke of peace, about the eternal dream, which expected us. So noisily downstairs, when there were no Yalta, no Oreanda, now shelves and will make noise as indifferent and deafly when we are not. And in this constancy, in full indifference to the life and death of each of us lies, perhaps, the pledge of our
eternal salvation, continuous movement of life on earth, continuous perfection. Sitting next to a young woman who at dawn seemed so beautiful, soothered and fascinated in mind this fabulous setting - the sea, mountains, clouds, a wide sky, Gurov thought about how, in essence, if you think about it, everything is fine in this light, Everything, besides that we are thoughts and do when we forget about the highest goals of being, about your human dignity. A person came up - it must be a guard, "looked at them and left. And this detail seemed so mysterious and also beautiful. It was seen, as the steamer from Feodosia came, lit by morning gar, without lights. "
The given quote is fundamentally important for Nabokov, since here Chekhov goes beyond the framework of realism, speaking of "peace, about eternal dream,<...> On the highest goals of being ", which indicates the existence of a second reality, which the writer does not call, but only means.
The third part of the story is marked with a lecturer as a culmination. And Nabokov again appeals to the importance of details and hints in the Chekhov text: "Unexpected little turns and ease of touch - this is what Chekhov raises over all Russian prose to the level of Gogol and Tolstoy." Here the lecturer mentiones about the critics of Chekhov, who outraged the lack of aspiration and accuracy in his texts, accusing Chekhov in "Banal and Useless Writing", but, according to Nabokov, noting the minor details of the situation surrounding the heroes, Chekhov "acts as a real artist<...> This is the most important in genuine literature. "
From the fourth part of the story, the lecturer leads deployed quotes, accompanying them with short remarks. This is due to the fact that "the last challenge transmits the atmosphere of secret dates in Moscow." According to Naboka, the mystery is the satellite of the otherworldly. Therefore, "secret dates", "life that occurred secretly", "all. There was a secretly from others, "" Every personal existence is held on a secret, "all this is especially expensive to Leka, and is an indisputable basis for Nabokov called the story of Chekhov" Lady with a dog "one of the greatest in world literature.
V. Nabokov considered himself like-minded A. Chekhov and in understanding some of the ethical problems. So, it is known that Chekhov worried the problem of damage to vulgarity and meshness throughout his life: "Nobody understood so clearly and subtle as Anton Chekhov, the tragedy of little life. His enemy was vulgarity; He fought all his life with her, he was ridicked by knowing how to find the beauty of vulgarity even where, at first glance, it seemed, everything was arranged very well, comfortable, even with glitter, "said Maxim Gorky.
Following Chekhov, V. Nabokov in the article "Visits and vulgarity" will write: "The tradesman is an adult man with practical intelligence, mercenary, generally accepted interests and lowest ideals of his time and its environment<...> In the former times, Gogol, Tolstoy, Czechs in their search for simplicity and truth, perfectly exposed vulgarity, as well as a dismissed deepness. But the vulgar is everywhere in any country. " .
In the "Lectures in Russian Literature" V. Nabokov analyzes in detail the character system in the story of A. Chekhov "Lady with a dog".
The critic concludes that all the characters of the story are described as vulgar. Gurova is his attitude towards women: at first his attraction to Anna Sergeyevna, "resting at the trendy seaside resort is based on vulgar stories." Gurova's wife - "harsh woman<...>which husband<...> In the depths of the soul, considers it a narrow nearby and tactless. " Anna Sergeyevna after the love scene "looks like a sad sinner with loose hair hanging around the face." She called her husband "Lake." Officials, biddling Gurov, according to Nabokov, are similar to "savages that only cards and gluttony are interested."
Consequently, in the World of Chekhov, on the conviction of Nabokov, the vulgar is considered a herd feeling, as well as thoughtless and immense consumption of pleasure. And only personally developed value can handle a person. In the story of "Lady with a dog" such value is love. Only having loved truly, the hero begins to overestimate his life, which, according to Nabokov, was empty, boring and meaningless.
Literature
1. Nabokov, V.V. The art of literature and common sense [Text] / N.G. Melnikov / Nabokov Outcasts and Other: Interview, Reviews, Essays. - M.: Independent newspaper, 2002. - 704 p.
2. Nabokov, V.V. Dar [Text] / V.V. Nabokov // Op. : in 4 tons / V.V. Nabokov. - M.: True, 1990. - T. 2. - 446 p.
3. Nabokov, V.V. Dar [Text] / V.V. Nabokov // Op. : in 4 tons / V.V. Nabokov. - M.: True, 1990. - T. 3. - 480 p.
4. Nabokov, V.V. Lectures on Russian literature [Text] / V.V. Nabokov. - St. Petersburg. : Alphabet-Classic, 2010. - 448 p.
5. Nabokov, V.V. Vodks and vulgarity [Text] // V.V. Nabokov / lectures in Russian literature. - St. Petersburg. : Alphabet-Classic, 2010. - 448 p.
6. Nabokova, V.E. Preface [Electronic resource] / V.E. Nabokova // Notes to verses from different collections. - Access mode: http: //nabokov.niv. gu / nabokov / stihi / pgimechaniya.htm.
7. Prozorov, V.V. History of Russian literary criticism [Text]: studies. For universities / V.V. Prooros. - M.: Higher School, 2002. - 463 p.
E. Ivanova
There is every reason to name the two past years - 1988 and 1989 - the time of the Celebration of Nabokov, because during this period he was not just one of the most printed authors, diligently exported a number of modern publications, not just the subject of sharp critical schoker, but What is much more important, it became obvious that it is the main landmark for young and not too young prose.
The beginning to master the Nabokov and literary criticism, but if there are critics about it argue, then literary criticism is revealing solidarity. The uniformity, with which Nabokov is interpreted, is often found with us, and therefore it is worth paying attention to: O. Mikhailov coincided with Nabokov, designed by the unlawful literary statute, arguing for every occasion to hoarseness. In this case, the same and the same nominates the same thesis: Nabokovskoy creativity lies outside the traditions of Russian literature. Of course, at the same time O. Mikhailov believes that the apostasy ruined the talent of the writer, and V. Erofeev - which helped to gain greatness. In addition, rejugging Nabokov from traditions, V. Erofeev announces its creator of a metrogenana, and this is the foundation in his eyes fully compensates for the absence of a glorious pedigree. But there are not so many of these conclusions and evaluation, the original thesis is important: Nabokov is not Russian literature, this is a writer of a new type. This is what seems the most controversial in need of historical and literary correction and concretization, since it becomes unclear why it was Nabokova who tried to proclaim his bunin, lovingly welcomed Vl. Khodasevich, and N. Berberova called the justification of Russian emigration. It is necessary to comprehend his path in historical and literary concreteness, try to find the "hidden engine" of his creativity, and even then put in literary boxes.
But it seems, it is necessary to start understanding against the background of the fate of the entire emigration literature, the existence of which proceeded in the unique conditions of the diaspora, when about 10 million Russian people who were forced to maintain their spiritual culture turned out to be cut off from the roots and the basics that were abandoned.
Our entry into the subjective truth of the literature of Russian emigration, it seems to me that it is useful to start with the recognition of reality: it is in the harsh conditions of the struggle for the survival of the literary youth of emigration, somehow weakly and inexpressively debut in the fourth generation of Russian modernism - Georgy Ivanov, Vladimir Nabokov (by the way, Is it time to include M. Aldanov in this list?) - It seems like the second birth, is experiencing an unexpected take-off, while their peers who started on equal, but remaining in Russia, and continued to be labeled in complete obscurity. Thinking over the mystery of this metamorphosis, on why the first unexpectedly became the last, we are unlikely to look for the answer only in freedom of speech, as if acquired emigration. First, some freedom can be printed in the 20s in the 20s and those who remained in the USSR. Secondly, freedom in emigration was, as elsewhere, relative character, because the group fragment was no less fierce here, because this is the emigration obliges his birth anecdote that there, where three Russians gathered, there are at least two parties. And beginner poets and writers, limited in the choice of Russian publications, initially had to adapt to the tastes of editors, and to literary standards and etiquette, exported from Russia with a moth in the chests, and to many other things that the overcome was not able to them.
In a number of emigrant young people, Nabokov occupies a special place. In his fate, this second birth was the most unexpected, since the poems that he managed to publish in Russia, who did not foretell in any way. Whatever softening reservations, we tried to furnish the verdict Z. Gippius, who fell on the head of Nabokov after the release of his first book - "He will never be a writer," we are forced to admit that, without going beyond the poems known to it, she had grounds for This judgment: then such poems could write too many. No less significant is its second assessment expressed after a decade: "Nabokov is a talented poet that has nothing to say." It seems to complicate a mystery given by the whole generation of emigrant youth: Why did the very last one become the first?
Perhaps one of the ways to understand the fate of the emigrant youth offers more than a strange farewell, which in 1916 gave another poet of VL. Khodasevich: "George Ivanov knows how to write poems. But in the poet, he will be unlikely. Unless if some big everyday catastrophe happens to him, kind of shake, like a large and real grief, misfortune. Actually, only this and it is necessary to wish him. " Expited on the threshold of "big and real grief", this farewell has gained a prophetic character.
The habit of keeping himself in the ultimate Nabokov is so strong that sometimes it seems, he exhausts under her burden. In his world, too much taboo, it is too built and is organized, which informs it even unnaturalness. All we manage to learn in views, habits, preferences and feelings, always surrounds with difficulty from some more likely suggestions, going through the crumbs - all the most coveted shtakno dental density density.
What never wrote Nabokov? About the humiliating poverty, which fell out of a luxurious mansion, who did not lose his magnificence, that in the same poverty he was forced to contemplate his own mother, almost the only heir to the million states. Nabokov, who described all the ancestors from his father to the seventh knee, did not mention this very mercy of the Muslim Mita, whose money was provided to his golden childhood, all the luxury in which he was treated; And although the material could be found, the merchants were not from the latter, the writer somehow did not hurry to disturb the shadows of these ancestors. For some reason, he did the form that he could not remember the name of his brother, did not mention his sister Elizabeth, which contained in emigration. Such examples can be given a lot. Nabokov is always much hiding than telling. Honor of the invention of this game did not belong to him, and Andrei white wrote: "So - every novel: a game of hide and seek with the reader he". But Nabokov belongs to the honor of the improvement of this game, in which he reached such virtuosity, which at the end of the life became invisible writer. Helped him to be sophisticated, it seems, in many respects of the nature of nature itself, and it was not in vain, he paid so much attention and spent so much strength, studying the mysteries of mimicry in entomology: these lessons had a practical literary sense, helping to find ways to protect against curious, but lazy readers. Nabokov requires attention: the meaning is often not there, where the author is fascinating a gullible downturn. It seems to be from individual strokes, the appearance of the uncle of the writer, who made him with his heir, seems to be talking about him all important; But the impact of that rage will not immediately open up, in which the father of Nabokova comes, seeing his son on his knees from uncle, peacefully "caressing a cute child": Obviously, uncle had homosexual inclinations, and this is the reason for some oddities of his fate, like a visiting unreserved Italian estates. An example from another area: in the novel "Other shores" there is a table of color sensations from the alphabet letters. Then, about the fictional name of the heroine, the memories of Tamara casually says that this name is painted in the flower tone of its real name. It's like a charade in the novel, which is solved by which you can find and real name of the first love writer - probably Varvara? Or the novel "Protection of Luzhina", developing two arrangement plan, on the first of which the story about the life of the brilliant chess player, the Creator for the Protection of the Republic of Ludi, built as antithesis of those novels about ingenious and exemplary children who writes the hero's father. But this story develops as if a chess party, built as the protection of the hero, a nudge, from the onset of black figures, stop which is trying to first the king father, and then the queen-wife. Both of these plans challenges the title, Nabokov felt the duality of the Russian genitive case.
One as if prohibited by the rules of the game themselves: to take novels Nabokov with a complete one-mindedness, as Russian literature taught us - when playing with hide and seek, relations between partners should be different.
Perhaps there was only one topic, touching which the writer allowed himself to discover something from the true building of his feelings: family. Against the background of the sputted emptiness, which was at first the life in emigration, the family became a kind of "small homeland", within which something resurrected from the lost life. The family of Nabokov believed immediately and forever, hence the passionate poetry, almost an inflated description of the father's enthusiasm, the hymns and OD wives, rather unexpected from a writer with a cold and restrained temperament, which nations are usually seen.
Thus, at this way in the artistic world of Nabokov, filling out some landmarks in it, it is necessary to go to the explanation of the key event of his biography that had almost a symbolic meaning - the famous scene with Bunin, which became the main argument to evoke the "unbreakingness" of the Nabokov writer. The famous laureate of the Nobel Prize, the Patriarch and Classic of "Russian Literature in Exile" decided on his own initiative to carry out a ritual and repeated gesture in Russian literature: to transfer the relay to the one who considered the most talented (by the way, and most similar to himself, what's wrong here spread) among writing emigrant youth. It is hardly for the first time in life, restrained and dry bunin made himself on the gesture quite theatrical: "The old man, Derzhavin noticed us and coming into the coffin blessed." So Nabokov coolly changed the traditional current of the plot, and the Bunin was quite puzzled by more than a cold welcome, which this, according to his calculations, the royal gift. He whom he thought in the role of the heir not only did not thank the inheritance, not only did not run from embarrassment to the village of Tsarskostsky Lip, but he listened to the outpouring with a restrained smile, without even looking towards the covenants, which he was proposed to increase. Nabokov noted without pride noted in this regard, that Bunin "was annoyed by my refusal to open the soul."
But the behavior of Nabokov did not have anything in common with the construction, which the fans of the Bunin are attributed to him. Nabokov loved to open repetitive topics in fate, just as she liked to endow these repetitions of his heroes. And he loved them not in vain: in his fate repetitions acquired consistently symbolic meaning. The fact is that on the threshold of his sixteen years he was once announced the heir to the millionth state of the uncle, which probably did not once be remembered by him, living the last panenigi in the bellish dish. He could not think about the difference, which existed between him, to whom Uncle bequeathed everything, and the missing Italian, to whom the uncle bequeathed only one of its Italian estate. With the inheritance, Nabokov had special scores: he knew on experience that the one who conveyed it to you, not always soberly assesses the possibilities of such a transfer. He was hardly of the first in emigration, who realized that no one was going on, they were quite the last, this is an evolutionary deadlock. And if the Bunin was late to disappear from this chain, then Nabokov cherished the dream to free himself from the birth, and ideas, to conduct a completely separate existence, responding only for himself:
That no one will help us
And do not help, -
he could consult this truth after George Ivanov. The Motherland, the Covenants of Fathers, Tradition - all this disappeared, went into the sand, and these words only on inertia were repeated by those who could no longer do without them. From their homeland, they were rejected forever, the covenants of fathers have already played a cruel joke with them, and there could not be any traditions, they are the last in the chain.
Good that nobody
Good that nothing
So black and so dead
What is black
And there's no deplete ...
Understanding this psychological background, it is impossible not to admit that NiGilism, for which they like to spare Niogokov, was not at all groundless and undoubted, and in the same way as Nigilism of Ivanova discovers little similarity with Nihilism Stavrogina, which freely chooses between good and evil. Nabokov and G. Ivanov were chosen between the illusion and reality and, giving preference to the latter, had the courage to admit that there was nothing around for anyone, both on the first day of creation, or create their own world anew (path of Nabokov), or hang in a black hole (Choice of Ivanova). So with the inheritance and the "Stavogunity" of Nabokov, the situation was much more difficult than it may seem at first glance. This inheritance was too much in himself, and it was much more difficult to get rid of it than to fight the cold of an aging rioon.
"The writer is a perennial plant," we must attach this block thought to those whom the revolutionary cyclone is voluntarily or involuntarily, but burned beyond Russia. For them, although in varying degrees, it meant to undermine the roots, which it was necessary to strengthen in a new place. And then many of them - and Nabokov almost the first - found how branched and durable was the root system, which was forever sliced. Nabokov, taken away from Russia relatively young, watched it in a fairing fraction of amazement.
Mother than all the councils of fathers were associated with their homeland, and the father of Nabokov had a completely definite path with his whole essence, in relation to which the son had to be self-determined. You do not need to be a Freudian who literally brought the writer with merciless ridiculous ridicule to add a complex of sons of feelings in his fate, the early content of which does not coincide with the external manifestations.
On the surface of the attitude of the father and son look almost idyllically: where the cold-blood smile goes, it is worth talking about the father! Stay Nabokov in Russia, he would remain his son until the end of his days, even in what was enough inexpressive prerequisites. Father, to such an extent, in everything he walked to the child to meet that this love dissolved, Topila, quilted the identity of the son and his hobbies - chess, butterflies, tennis not only divided, but they came from his father, a new poetry collection (Nabokov V. "Union", 1916 ) It was published in the same typography and on the same luxurious paper that the father's book (Nabokov V. D. from the Warming England. Path essays. GG, "Union"), and for surely paid for a common account. About how someone tried to celebrate the appearance of the Son's enthusiasm to his father, Nabokov wrote himself, and this review was intercepted by the Father, it did not prevent the collection to look in the eyes of the public to the Pretty Barchuk, next to the books of young beginner poets produced in Light for the latest money.
It was the emigration that helped Nabokov, with stand up with a father in a family tandem. The main change was that the Father began to simply support.
It is possible to bring other examples confirming that the writer's Nabokov was not only the son of his father, how much the "shochal of the foundations." Some fugitive comments, obscured as if casually fall right in the Father, although they are not directed into it. What is worth at least one ironic molecule on people, "adjacent to any organizations in order to vigorously dissolve in them", or Hannibalov an oath does not attend any meetings. It is unlikely that you can find a brighter example of energetic dissolution than the one who made his father in the depths of the Cadet Party!
The same starts of love-hatred, but as if changed by places, since the surface will be just hatred, and at the depth - love, we find both in the relationship of Nabokov to the fact that the Mother Mother's Mother's Poetry is called on the metaphorical language. But in this regard, it is necessary to make reservations that are of fundamental importance for the study of emigration literature as a whole.
Since soon it comes to her, we, as if deliberately, do not want to recognize the devils for Russian literature, which always determined its originality. The methodology that we are so valid, as if disappearing, and boring the questionnaire begins: what and how the writer spoke about our country. Based on the results of this survey, we are trying to conclude about the degree of its patriotism or the absence of it. But it is time to recognize a completely obvious fact: the concept of "USSR" for these writers themselves did not have anything in common with what they understood under the word "homeland", which they lost precisely because the USSR appeared in her place.
"I love the depreciation, but strange love ..." - We interpret the meaning of this Lermontov confession with ease, I willingly apologize to the poet some renovation and addressed to the "Glory purchased by blood", and the cherished legends of the Dark Starny. But it is standing with an emigrant writer to speak with the disapproval about the country, which prevented him to live where he was born, who took her shelter, destroyed the family hearth, as no discounts, no right to "strange love."
After all, even the most expensive court can not not notice that the best poems about Russia worthy of becoming in one row with verses of the largest poets of the XIX century were written by the emigrants of Ivanov and V. Nabokov. Maybe the love of Nabokova was because he was the most frantic, that he tried to hide her most, and where she still broke out, turned out to be a similar geyser. The attentive reader of Nabokova will understand that the thought of Russia in his early work, before departure for the ocean, is almost a manic character, the more painful, that this mania of Nabokov is tatt. And if we take the trouble to compare the "strange love" Lermontov with the factory and hopeless feeling, which, as a secret hump, wore Nabokov, we simply obliged to recognize the advantages of the situation in which our recognized classic was located: like love and hatred Motherland was combined in the fate of Lermontov with the main thing - with the possibility of living in it. In the fate of the Nabokov, this passion began to detect his first symptoms and develop precisely when he was separated from the Motherland with a deaf wall, it was originally unpromising, because to live in the country that arose on the site of Russia after the October Revolution, it was so much It is impossible to move to the moon. Among the emigrants Nabokov realized this one of the first and therefore, she preferred from the very beginning to remain hunchback secret, masked the cause of her torment to save himself a useless unity in despair, or that it was almost terrible, sympathy for him. But hardly to someone managed to express the essence of the nightmare, which became nostalgia for him in emigration:
Castle, I beg you!
The evening is terrible, the rumble of life.
I am helpless. I'm dying
from the blind swims of yours.
He who left the depletion of
waven to throw on tops about her,
but now I went down to the Valley,
and now it's not dare.
Forever I am ready to hide
and live without a name. I'm ready,
so that with you and in dreams do not converge,
abandon all sorts of dreams;
bleed yourself, cripple,
do not touch your favorite books
protection on any nashier
everything that I have is my tongue.
But but, about Russia, through tears,
through the grass of two non-magic graves,
through the trembling stains of birch,
through everything that I lived,
expensive blind eyes
do not look at me, please
do not look for in this coal pit,
do not grope my life!
For years have passed and a century,
and for the grief, for flour, for shame -
late late! - Nobody will answer
and the soul will not forgive anyone.
Maybe it is not the most brilliant poems, but surely these are the most desperate words addressed to the Motherland, who pursues her son like blind Erinia.
The painfulness of the punishment, who fell to the share of anyone who did not have time before the Motherland, to defend the young men, was taken out of his own will, it was even more unexpected that in the traditions of the people of his circle firmly rooted the habit of thinking this homeland is not otherwise how in the image of a certain "Mother Pig" , treat it as an unlucky dumping nurse. And unexpectedly flashed in Barchuk, a passion for this irrevocably lost Swing Mother demanded half of the writing life for his extermination.
Yes, the nurse prepared a completely unkind surprise with her children, the exact name of which was found in the block: retribution. In this word, the same thought was enclosed about a stick about the two ends, which Tyutchev felt in the fate of the Decembrists: "You brought themselves sophisticated, // And the sword struck you about it ..." Otherwise, how to retribute to the sins of fathers, the tests that took place on their sins Shoulders generation torn from usual rails. But the special paradoxicality of the fate of the Nabokov is also in the fact that it was hardly difficult to pay the Barchuk, around whom, from childhood, an artificial edem in the English taste was deliberate from all Russian, starting with London's faithful soap and ending with a speech: and he And the brother first learned to write in English, only then in Russian.
Of course, in his own way, I loved my homeland and father Nabokov, but it was a very common love in his circle for near-Europe, who forced a volitional and active father, struggling to turn Russia into this Europe.
The main paradox of the fate of the Nabokov-Son is the main paradox: to him, who was brought up in the Angloan family, had to suffer from the very vulgar and spread in the emigrant environment of nostalgia.
The stem of the Creativity of Nabokov before departure for the ocean makes up nostalgia, the path with which the writer will bring in the book "Other Shores". The outcome of the flour of the geographical patriotism of Nabokov found in novels, where heroes are generously endowed - and the wife of a nudge, and many, almost all Russian characters.
The idea of \u200b\u200bRussia did not leave him anywhere: "All in the number of the provincial German hotel, and even a view in the window - it was somehow vaguely and indefinitely similar to something already seen in Russia long ago ..." This is already from The novel with the expressive name "despair", and the semblance of statements help to evaluate truly titanical efforts to self-dedication, to extrude this feeling. His separation in emigration hardly wore a random character - he could not disagree that the reporting vessels could have a bad service. The logic of the development of this nervous topic gives all the grounds to see in the execution committed with the puppet Chinese ceremonies on the pages of the novel "increment to execution", a certain allegory, the key to which is in the novel "Other shores". The prompt for the solution can serve as an argument in the "ghostly" foreigners, "in whose cities we, exile, was physically exist." In the description of the small-sorted hosts who gave the shelter of Russian emigration, there is an obvious key: "These natives were, as transparent, flat figures from cellophane, and although we used their buildings, groats, vineyards, in places of fun, etc., between them and us There was no similarity of those human relations that most emigrants were among themselves. " Allegorical execution in itself an opaque man is not accidentally performed by Nabokov on the eve of sailing for the ocean: he clearly decided not to teach more pride and merge with the natives. It was the last act of the extermination of nostalgia, furnished with appointed ceremonies.
By the time of writing this book (1946), the writer managed to take the second emigration, removing not only from Russia, but also from Europe overseas. In this book, he was not first not afraid to set a previously taimy hump at once and tell, at least in the past, about the flour experienced. "Under the burden of this love," recalled Nabokov in the novel "Other shores", "I sat for hours by the fireplace, and the tears hit the eyes from the head of feelings .... and tormented the thought of how much I missed in Russia." Nabokov rarely allowed such an outpouring, even in the past time, - pride, one of the seven mortal sins, did not just rule over him, but as it were for the stem of the person. Recognition did not accidentally flew out of the mouth of the writer when he himself secretly realized that he had coped with this feeling, he learned to do with His Erzats, what to judge his other statements: "... Give me a forest, field and air that resemble me Petersburg province, and then the whole soul is fluttered. Whatever it would be possible to see again and Christmas again, it's hard for me to imagine, despite the great experience. Often I think: here, I will go there with a sublayed passport, under the name of Nicerboker. It would be possible to do. But it is unlikely to ever do it. Too long, too idly, I dreamed about it too much. I droked the dream. "
Just understanding that the main task of the do-American Nabokov was the extermination of everything that connected him with Russia, it can be understood why he in the first period of creativity, concerned about the preservation of his Russian language, in the American period it is equally resolute from him, becoming a writer fundamentally bilingual. Probably, the change of "tools of labor" pushed first of all the consciousness that the greater he reached in the conservation of his Russian, the more this language was dead and lost freshness and fragrance, as they lose any, the most ideal canned food. Or maybe the reason should be sought in the fact that Nabokov felt behind the ocean, the language is the last connecting rod not only between it and the homeland, but also between him and Russian emigration.
This foresight helped him and the first to think about the fact that the emigrant Russian is immensely narrows his reader audience, the expansion of which at the expense of the Soviet reader could not even think about, because, like all emigration, it believed that some unknowns became the indigenous population of Russia People with pest heads.
All that we still tried to highlight in the writer's writer Nabokov, expressively suggests that his writer's writer has grown and male in conditions, nothing like those in which Russian writers have traditionally grown up. He initially overlooking the solution of qualitatively different tasks: escape from tradition, from the chain, the last closing link of which he felt. And along with longing in his homeland, with the tongue he exterminated in his writer's appearance all generic features. In order to subjugate your gift to the creation of that "complex and useless", that he set itself as an ideal of art, it was necessary first of all to separate from everything that his Russian literature was taught, because even the most expensive from the modernists in it inevitably turned out to be loaded whatever That is not, albeit even negative, but ideological values. But in the new aspiration of Nabokov, in this favorites for myself the new path was not so much a proud challenge and opposition how much an attempt was imperceptible to hide and sniff out from the unbearable in its conditions of burden.
Rubeze, followed by Nabokov to break away from the shackles of tradition, became the novel "Lolita", by the way, the first romance in his work, where there are no Russian associations. It is here that the writer comes to the path of creating a "complex and useless" art that does not reflect the reality, but its independently creating, not loaded by supersensant ideas. But even here, withdrawing himself from tradition, Nabokov is not so much from her at all, how much is subject to high-quality rethinking. Historical and literary works of Nabokov about Russian writers tell us about how the stirring and the overheating of the inheritance, which took him from Russian classics. These studies are introduced not so much in Russian literature as in the creative laboratory of Nabokov, where he misses the classics through retorts, develops and disassembles to such a state, which becomes possible to let individual details for the other purpose, for feeding its own "charming virtuosity".
But the true genius of Nabokov as the creator of "Lolita" still manifested itself not in the fact that he found these sources of constant stimulation of writing skills, but in the fact that he first guessed to join the honed skill with refined, but still "strawberry." Nabokov did not have illusions regarding who the first is capable of pending such a plot. Recall where "Lolita" is played for the first time: he sets off on the "Gift" pages "Gift" MERC Boris Ivanovich Schegolev (is it not a parody of our famous historian?). "Eh, I have time for me," he says to the writer Godunov-Cherdyntsev, "I would such a novel romance ... from the real life. Imagine such a story: the old dog, but also in juice, with fire, with thirst for happiness, - meets the widow, and she has a daughter, quite another girl, - you know, when I haven't shared anything yet, and already goes What to go crazy. Pale, light, under the eyes of Syane, - and of course, does not look at the old cheer. What to do? And so, not thinking, he, see whether he marries the widow. Good with. And so, healed threesome. Here you can easily describe - temptation, eternal torture, itching, insane hope. And in general, miscalculation. Time is running - flies, it agrees, it flourishes, - and not a trait. It will pass, it happened, near, he burns a contemptuous look. BUT? Do you feel the tragedy of Dostoevsky? This story, you see, happened with one of my big friend in some kingdom, in some self-grain, during the king of pea. What is? ". It is noteworthy that this plot of Nabokov uses in Lolita to the smallest details. Only in one will go away from him: if it is important for Schegolev exactly what he is "from the real life," then Nabokov will cleanse the plot first of all from everything that it can make a real life - the "Lolita" acts on the background of the alternate scenery Yes, and the heroine itself on the pages of the novel is like a puppet, which serves as a point of the app of the senses of the hero.
"Lolita" played in the history of the Macerat an important role of an underwent sample, rarely, who from the ordinary workers in the field of this art had a literary pedigree, which was behind the shoulders of Nabokov. Refined fabrication of this novel still remains unsurpassed, it can serve as an excellent way to the American mass industry, which is owned by hegemony in the global market. In this industry, everything is designed for the fact that her products all fit, whether it concerns jeans or rock music. In Lolita, there is a real golden cross section of a mass culture: professional perfection, the ability to lavish between pornography and almost chastity, the ability to plant "livery" so that it is swallowed by the honorable father of the family, and a person with upset sexual imagination, and snob, and All of them will not be ashamed to admit what book she is kept in their hands.
The controversial remains the question, whether "Lolita" is the first complete example of "complex and useless", or this is also a complex, but useful, even in something pragmatic art. It is indisputable that in the fate of the Nabokova, the book plays the role of a shining vertex, which falls on all other works. This is the focus, passing through which the traditions of Russian literature are unrecognizable, so they are prepared. In this crowd of Nabokov continued to drop his "complex and useless" masterpieces, convinced that now the reader on his hook from respect to the master swallows everything he will be offered. The image of the Nabokov-writer who realized the Stavrogina's dream and moved to the Canton Uri, will invariably demonstrate complete contempt for everything that the crowd worships.
No matter how to evaluate this new path given by Nabokov, it is impossible not to see that it is worth the right of writing self-determination in the conditions of violent detachment from the soil. It is unlikely that it is to regret and killed in themselves the Russian writer, hardly these opportunities did not exhaust it completely, but in modernism he became a kind of genius and the founder, but in such a founder, for whom whoever went, rather loses himself than Finds. The right to avant-garde in his fate is consecrated by his biennia in the new world, and his bilinguality. Nabokov this consumer beat, because he was smarter and intelligent. This victory and became the birth of an American Nabokov, which already written so many books and which not one generation commentators will solve and explain how new Talmud XX century.
Finishing the article about Him, it is impossible not to mention how this American Nabokov managed to take revenge on arrogantly in the Soviet literature, which assigned to himself and the Motherland and the tradition of full property. Nabokov managed to lead many of those to whom the aging literature of socialist realism hoped both on heirs and continuers. Nabokov, Nabokov and once again Nabokov is for many young writers today a guide lighthouse. Why is the god of the news, but it is impossible not to remember in this regard that "youth is a retribution."
Keywords: Vladimir Nabokov, Criticism for the work of Vladimir Nabokov, Criticism on the works of Vladimir Nabokov, Analysis of works by Vladimir Nabokov, download criticism, download analysis, download for free, Russian literature 20 century, Russian emigrants writers
Alexey Filimonov
V.Nabokov - critic of the poetry of Russian emigration
Occasionally happens very entertaining, even a somewhat ridiculous phenomenon: critic cudcut comes to the book without the slightest bias. This originals are important only one thing: a book or bad is written well. I would never admit to anything that belongs to their number, - in my opinion, much more respectable to the team and honestly work on it.
Vladimir Sirin
The "purest sound of Pushkin Chacketon" was a guide nota, as for the hero of the Dara, not only for Sirina-artist, but also criticism. His critical articles and notes, a kind of letters about the Russian poetry of emigration - aesthetic and spiritual controversy with a century, an assessment committed on the "Pushkin scales" as well-known poets, and who soldered in the summer: "Criticism - Science to open beauty and disadvantages in artwork Both literature, "wrote A. Pushkin," she is based on the perfect knowledge of the rules, which is guided by the artist or writer in his works, on a deep study of the samples and on the active observation of modern wonderful phenomena.
I'm not talking about impartialism - who in criticism is guided by anything other than pure love for art, he is already in the crowd, slave managed low, mercenary motivations.
Where there is no love for art, there are no criticism there. Would you like to be an expert in arts? .. Try to love the artist, look for beauties in its creatures "(A.S. Pushkin - Critic. M., 1978, p.246).
Nabokov-criticism relations with emigrant poets ("The term Emigrant writer responds slightly tautology. Every true writer emigrates in his art and resides in it," says Sirin (A. Dolinin. True life of Sirin writer. SPb, 2004. p.26 ) Not a chess game, but rather a chess etude, creative on Navy canons of harmony and beauty, sometimes violated by the "foolish story". The old grandmaster, who was crazy in the Berlin beer and jumping on the checkered floor of the horse, as if Luzhin trying to break out "Scottle Natural Limits" (N.Gumilev, "Word") from the poem "Chess horse" - a metaphor of extension from matter, similar to the one that happened to the Lermontov Prophet, goes back to Pushkinsky caution about madness, comprehended and Batyushkova, critical comments to Elegiam which are left by Pushkin for the descendants. "Italian sounds! What the miracleor of this Batyushkov" - writes Pushkin on the fields of Elegy "To Friend" (PC. P.306). "And the way has opened Muziysky / I am in stunning winds "- wrote, as if caught by the bloc winds of the Epoch, Vladislav Khodasevich, according to Nabokov, expressed in a necrologist," The largest poet of our time, a literary descendant of Pushkin in the Tyutchev line ... ". "Music, music, music / woven in my singing" (I remember "... And the other, the other, the other" in the Naboki poem "Glory") - as if he spent on the verge of emigration from Russia, listening to incomprehensible, the fatal consonance of a heavy lira. "Pushkin's singer scream (I speak only about sound - about the first line, about the second sigh), - V.Nabokov notes in the review of the" Assembly of Poems "of the poet, - as if by the leitmotif of many poems by Khodasevich. His favorite rhythm is a yambiic, measured and good (in the "copper rider" Pushkin seems to be transmitted by the very experience of the yambiic bellion of verse - "as if thunder rumble - / severe-ringing jump / along a shocked pavement" - A.F.). Let it be strict in places to dry; Suddenly, he dies with a ceiling pan, the sharp singer interrupts the cold-blooded stroke. The trepacy of his ferret is amazing. / ... / Wonderful music poem "Mill". It is written correctly and yet unexpected, incorrectly excellent size. " In another place, the critic wrote about the inability of young poets. Emigration raise Emigration to raids by the heavy LIRA, bent by classics: "The diligent hearing will discern how the Tyutchev" Wind ", running the stormy in the lyrics of the block and the Annensky and the last breath of waving the wing mound of Khodsevich, now, Already a powerless artificial echo sounds in verses of some modern young poets. " (Vlad. Posner. Poems in case. 2.663). Undoubtedly, Nabokov considered the musical harmony of verse one of the most important components, and the very thought in the verse cannot not be musical. "So I read this book," writes Nabokov in the reviews for "Selected Poems" I. Bunin, ("His amazing flowing poems" - he recalls in "other shores" - A.F.), - postponed it and start listening to That trembling, blissful szvuk, which she left. / ... / Music and thought in the Buninsky verses merged so much in one thing that it is impossible to speak separately about the topic and rhythm. You will be drunk from these poems, and sorry to break the charm with an empty exclamation of delight.
In his world, as in the rhythm of his verse, there are sweet repetitions. And this world is unheardly extensive ... The poet himself says that he, "like God, is doomed to know the longstanding of all countries and all times." / ... / All sizes, all kinds of verse, Bunin owns amazingly ... Bunin's sonnets are the best in Russian poetry.
The wind of happiness deeres from the poems of the Bunin, although not enough of him he has words of sad, formidable, sinister ... But not imaginary loss herself, if the mimolent in the world can be imprisoned in immortal - and therefore happy - verse? " (SSR. T2. P. 673-676). In one of the early poems dedicated to I.A. Bunin ("like the water of the mountains, your voice is proud and clean", 1920) Nabokov sworilla on loyalty to the master, his artistic world: "... neither by thoughts, nor word / not sorry before your muse " As A. Dolinin notes, following the necessary scope for the development of the language of poetry and unusually plastic prose: "The worship of the block is replaced by a worship before the riotin, less hard-normative poetics of which leaves more space for self-development, and therefore plays for Nabokov The role of the catalyst is rather than the sample "(the true life of the writer Syrina. P. 334).
In one of the first reviews (on the collection of Alexander Saltykov "ODD and Hymns") (1924), Sirin consumes the epithet "excellent-ringing poems." It is noteworthy, however, that the poet Sirin himself was deprived of that convex musicality, characteristic of poetry block or George Ivanova. Thus, in the review of Herman Khokhlov on poems from the collection "Return of Chorba", the fact that then Nabokov has formed in one of the interviews as a response to the question of own poetics ("No directness; obsessiveness of parallel thoughts, second thoughts, third thoughts; inability to speak normally In no language, if you pre-make every damned offer in the bath, in the mind, in the writing desk, "per.m.Malikova. Pro et Contra, 1997, p.159):" Syrina verses, with all its imagery and technical decoration , Impressed by savvy rhymes of rhythmic prose. They have a lot of rationality, conscientiousness, decentity and very few real poetic singers. " (It's funny that, having analyzed in the "letters about Russian poetry", the first compilation of the city of Aadamovich "Clouds" (1916), Gumilyov, as if he focused on the Nabokovsky pseudonym, to whose birth was still far away: "To say about Sirin, he must regret them , greasy:
And Sirinam, already silent, dream,
That from the tent, in silks and pearls,
With a captivating smile on the lips,
Coming the Shemakhan Queen. "
Apparently, for the poet Adamovich, which became an outstanding criticism, music in verses, as well as for Nabokov, was a certain similarity of the polyphony of the echoes and the echoes of other people's poems.)
Nabokov contrasted the principle of "excellent clarity" (Mih. Kuzmin) by the poetic school, which was connected for him with the name of Pasternak ("the monstrous illiteracy of a talented, but Misturboral Pasternak" (SSR. T.3. S.685), and possibly, The block whom he described as "... an excellent poet with a stupid mind ... True Communists were absolutely right when they did not take it seriously." (SSR. T.2. S.759). As noted by a modern researcher, "for the thirty-year Nabokova, a comparison of own Poems with the lyrics of Poplavsky was the opposition of the two poet. "(R.Timechik P.761)." Muza is charming poverty "- I remember the remark of criticism and poet Koncheev in the" Dara "when you read Sirin's review on the book by B. Poplavsky Flags:" ... It is difficult to treat poems of Poplavsky seriously: it is especially unpleasant when he starts to clean the angel epithets, - it turns out some kind of painted marzipan or a color photographic greeting card with pearl glitter. Is even thought , is it not empty all the fun, is it better to try its strength in the field of prose? I do not take advise, and yet ... how well sometimes it happens to go deep into yourself, it is holy to refrain from the poems, to force the Muse to go ... "Oh, Morellla, Anya, how terrible eagle life ..." It sounds like this - nothing can happen, sounds, - But what a nonsense ... "The poetry of the dark, in the words of the wrongness," wrote Bunin, and here the critic was placed to the poet approaches the area of \u200b\u200bthe captured, where "sounds above all" (Khodasevich). "Poems are wonderful, but again the same anti-tag" - noted Pushkin Nasyukovka "Sounds of Sweet" with a somewhat "dark and sluggish" meaning of the Batyushkovsky Message to Zhukovsky and to the Vyazemsky "My Penates (PC. P. 313).
For the blissful, meaningless word
I will pray in the night of Soviet, -
I wrote O. Madelshtam in the poem "We will come up again" in St. Petersburg "(1920). In the "other shores" Nabokov looks at the past, a lot of rethinking: "I have not met Poplavsky, who died with a young, far violin among close balalalak. "Oh Morella, a mustache, like terrible eagle life ..." I will never forget his foolish tonality, and I will never forgive myself an agrade review, in which I attacked him for trivial mistakes in his unfair verse. " In the novel "Dar" strings of the poem of Koncheeva remind of the poetics of a untime poet:
"The grapes ripened, sculpture in the Alley of Cornelius.
Heaven relied on the snow shoulders flying ... -
And it was as if the voice of the violin drowned the chatter of patriarchal cretin. " Perhaps it is meant Pushkin "oblong and transparent" grapes for wine of love and inspiration?
Nabokov, in contrast to intuuivist critics ("For our critics say usually: this is good, because it's great, and this is bad, because it is bad. They don't extend them." He wrote Pushkin), offered quite clear boundaries and accurate tools for Estimates of the modern poetry. Evaluating the first book of the poet of Yevgeny Shah "Seed on Stone" (1927), Nabokov writes about the fruitfulness of the acmeistic, humil tradition of clear images and elastic rhythms, on the construction of verses according to the rules of the Anatomy, when "the poem should be a cast of an excellent human body" (N . With.Gumilev. Life of verse. Letters about Russian poetry. M. 1990. P.49). "Eugene Shah chose a teacher Gumilev. You can not talk about Gumilev without a wave. The time will come when Russia is proud of them, reading it, you understand ... that the poem can not be simply a "mood", "lyrical something", the selection of random images, fog and deadlock. The poem should be primarily interesting.
It should have its own tie, its disconnection. The reader should start with curiosity and finish with the wave. About the lyrical experience, about the trifling it is necessary to tell the same exciting as about traveling to Africa. The poem is entertaining - here it is the best praise (in PoEms and Problems, looking at his own way in poetry, Nabokov writes about his desire to embody this concept in the poetry: "For a decade, I saw my task that every poem had every poem The plot is the presentation (it was as if a reaction against a sad, "Paris School" emigrant poetry ... "Per.V.Nabokova in Sat." Poems ", 1979 - A.F.).
In some poems of Evg. Shaha is this special enact. He, however, very young, he has terrifying mistakes (like "let the light of someone else's culture"), but as well, but the poem "I saw a dream: a hot horse and the rider of the beautiful on Divo" ... or the city spring is described: "And the ends As the mirror is brilliant, it smells hot oil and resin; the butterflies fly the real over the cunning, sticky pavement "(" ends "of aqmeists and Nabokov -" and on the eight of the octagonal, the same gold dust "-" St. Petersburg ", 1924, - With a buninsky sensual image? - A.F.). Especially successful ... "Bounce of things" ("Things every morning await events, but the high mast of the Eiffel Tower will never be ready for sailing"). This poem would seem like Nabokovsky-Sirinskaya mystation . Easy to assume that "poor" Eugene is "a proud, modest pedestrian" (O. Madelshtam), one of the lyrical heteronimes of Nabokov, the waiting for events and salvation in the form of sailing in India, "distraught things" ("wreck", 1925) , or their shadows are ready to move on the road ("Who with It can understand how I feel sorry for all these things. "V. Sodsevich," Ballad "), however, a gloomy tower is a tour, medelit make a fatal or saving move. There is a patent situation. "Eternal Shah", which coincides with the name of the author. The same "Eternal Shah" - Afterwording Nabokov for reviews, would hardly agree on a draw as a prose. He seems to rethink his early rigid judgments - about the tragically spent from the life of the Poplavsky and Tsvetaeva (in the "other shores" calling it "ingenious poet"), Raisa flea, destroyed by the Nazis.
"Dead words smell badly" - wrote Nikolai Gumilyov. Nabokov acutely felt the abyss between the poems of the Khodasevich and his numerous epigons, whose lines were worn and dumbly static with frequently borrowed almost literal images of the Khodasevich, who has "... Everything was real, the only one who did not associate the ongoing sentiments who mowed the poems of many His semi-students "(" Oh Khodsevich ", 1939). The image of Khodasevich appears in the Paris Poem, immediately after his death, a poem "poets", Requiem not only on comrades and the insightful criticism of Syrin, but also throughout Russian poetry, leaving for an after-grain shadow, in the "silence of grain". It is noteworthy that I was written on the face of the young emigrant poet Vasily Shishkov, not only with a view to film Aadamovich, who denounced the Sirin trick, but to say about Russian poets more deeply and generalized, not only on their own behalf. In the story of "Vasily Shishkov" there is a meeting of a fictional poet with his author, in this case the twin of Vladimir Sirina. They exchange the impressions of the artworks of each other, and the writer shakes the reader's attention to the "Little Slut Joints", for example, the lines "in soldiers' uniforms." What could be the fate of these "Lunatikov of Smirny in the soldiers' uniforms", reminiscent of clothes spoken in ordinary and executed for her previous life or just for the fact of their birth like Cincinnut C., we know today.
The controversy of Nabokov with representatives of the Paris notes (described by A. Dolinin in the work "Three Notes on the Gifa Novel" in the book. "The true life of Sirin writer") is reflected in the work, in particular in the chapter on the failed and ridiculous Life Yasha Chernyshevsky, as if borrowed cold, dogmatic principles of art, mixing him with life, - with symbolists, and the complete inability of aesthetic self-esteem and processing into creativity of living life impressions - the author of the novel "What to do?". "He is in verses, full of fashionable tribalities, chanting the" popor "love for Russia, - Yesenin autumn, Blok's Blokovsky swamps, snow in the ends of the aqmeism and that Nevsky granite, which is hardly distinguished by the trail of the Pushkin elbow. / ... / Epitts, he has living in the larynx, "incredible", "cold", "beautiful" ... greedily used by his generation poets ... In addition to the patriotic lyrics, he had poems about some sailor taverns, about Gin and Jazz, who he wrote to the translation-German manner : "Yats" ("Berlin Russians pronounce" Yatsz ", and Paris -" Zhaz "- wrote Nabokov in the literary notes" On the rebel angels "T.3.685 - A.F.); There were poems about Berlin with an attempt to develop a voice from the German names, just as, say, the names of Italian streets sound suspiciously pleasant contralto in Russian verses ... And all this was expressed pale, somehow, with many miscalibilities in stress, - It was rhymed "devoted" and "transmitted", "to diskece" and "distinguish", "October" held three places in the poetic line, by paying only for two, the "fire" meant a big fire, and I also remember the touching mention of "frescoes lying "... no, he could not love painting as me." In this small, no matter how deeply the personal impression of one of the heroes of the novel on poetry of a failed poet - a kind of compressed response to the poetry of emigration, about the topics and constitues of the Gumilevsky lyrics, the theme of his "captains" (Nabokov himself did not pass by the "marine" topics and imagery like in verses - his bed "sails" to the execution, emigrants he calls "Sunny Morelods", in the essay "Nikolai Gogol he writes that at a truly high level" ... literature is addressed to those secret depths of the human soul, where the shadows of others pass worlds, as the shadows of unnamed and silent ships. "Per.e.Gollyheva p.510), complaints about the diseases of the century, for the overseas" yats ", on the non-department of Russian stress (the topic raised by Pushkin), inaccurate, careless rhymes (in the" Dara " "Drawn attention to the" impossible "" carpet "and" cf "at the block). In the novel "Dar" Virrhm Yasha Chernyshevsky is opposed to the collection of P. Godunov-Cherdyntseva "Poems", based on the trek, accurate life observations. "... no way can not deny that within the limits of himself, his own poetic task of Godun-Cherdyntsev correctly allowed. The chief of his male rhymes excellently shams free outfits of female; His Jamb, using all the subtleties of rhythmic apostasy, does not change in anything. Each of his verse was overflowed by the harlequin. Who likes in poetry an archived genre, he will love this little book. " Similar observations about the freedom of rhythm with a "non-free" size - in the article about the verses of Khodasevich: "The bold, intelligent, shameless freedom plus is correct (i.e., in a sense of non-free) rhythm and constitutes the special charm of the poechs of Khodsevich." Interesting due to the assessment of the poetry of Khodasevich, the work of Y. Tyunyanova "Parish" of 1924, where the researcher writes about verses from "by grain" and "heavy lira", noting some irresistible dependence of the poet from the classical heritage: "in verse, bent for centuries, bad Stay today's meanings. / ... / Smolensk market in the two-axis jamb of Pushkin and Bratanne and in their manner is, of course, our thing, the thing of our era, but as a verse thing - she does not belong to us.
We deliberately underestimate Khodsevich, because we want to see their verse ... (I'm not talking about the new meter itself. The meter can be new, but the verse is old. I'm talking about the novelty of the interaction of all the rod verse, which gives rise to a new poetic meaning.)
Meanwhile, Khodsevich has poems to which he himself, apparently, does not listen. This is his "ballad" ("I sit, illuminated from above ...") ... This is a poetic note: Swear, jump ... "- Almost Rozanovskaya note, with mutual home rhymes, unexpectedly short - as if a sudden invasion of a notebook in the classroom of high lyrics ..." (In the book "Literary Evolution." M.2002. SS.422-423). In Nabokov's reviews, it seems, did not pay attention to the reader on the poetic passage, having silent about it, but using it as one of the main metaphors to the "gift", where the theme of the keys, lost and acquired, is deployed throughout the multilayer novel.
Protecting the poetry of Bunin from the attacks of a detractor, Nabokov seems to appeal to Pushkin observation: "A true taste consists not in an irreplaceable rejection of such a word, such a turnover, but in the sense of contrast and complicity" (PC. Pp. 163). In the article "On the Red Petops", Nabokov writes: "Pushkin rushed a lot of that ill-fated critic, which about the lines" on the red legs of Goose heavy, thinking to sailing around the waters ... "I thought deeply that I would not float the red legs. Alas! With this zoil is extremely similar in the warehouse and direction Alexander Eisner, published in the last issue of the magazine "The Will of Russia" a funny young submitting article in which he will be strengthened to prove that Bunin is not a poet, and that his poems are bad, illiterate, poor A form and in content and nowhere are not suitable. The Eisner begins with the fact that it is surprised, why the Buninsky poems stepped Stepun, Khodasevich, TEFFI and the following ... especially painted Eiser at the place in my work, which was designed to disturb the complacency of lovers of "modernity", which are absolutely not able to understand the eternal The charm of Buninsky poems. "
Bitterness and anger, hopelessness of Nabokov emigration contrasts loneliness and freedom (the name of the future book of Aadamovich), talent saving in exile: "Today, more than ever, the poet should be just as free, notice and lonely, as Pushkin wanted a hundred years ago ("You are the king. Live alone." He runs, wild and stern, / and sounds and confusion full, / on the shores of the desert waves, / in wide dubrovy, "-" Resident of the Lower Labor and Clean Neck "- A .F.), - And if I do not demand a towers from the ivory, then only because I am satisfied with my attic "(per. Tryzhaysova). As well as the hero of the poem "in front of the mirror" V.Other, as if continuing to listen to the "Black Music of the Block" (Ivanov):
Yes, I'm not panther jumping
At the Paris attack drove.
And Virgil is not behind the shoulders -
Only there is loneliness - in the frame
Glass speaking truth.
Like the castomrical twin of Khodasevich, the hero of the Paris Paris Poem, the "half-way creature", in something, Sirin's reminiscent bird ("he did not like to go to a person, and did not know a good beast"), Naboku had to pass metamorphosis almost unthinkable - "... blend Himself, to cripple, / not to concern the favorite books ... "It seems that the human soul still did not know such pancakes in the literature. Pushkinsky man becoming the "Prophet", acquires the "gift of the Sayosineyshans heavy," - "And I won the sky Sodroogan, / and the Gorean Angels Flight, / and the Gad of the Naval underwater move, / and the Roda Loza Loza," - transforming his speech to another, Nabokov refused Russian, from the "Divine Glab". First of all, losing relationship with poetry, the musical element of the Russian Logos. "Belt Beach I will reach ... / And the angels novel beat" - Exclamated Khodasevich, as if the pennate creatures had lost his speech, the necessary words, whose conductor was. "I am on the angel behaved," wrote Nabokov in America, "and the demon is clogged into the grid in the smoky" ("Seven poems"). The word, in the separation of the language (Omonym the reader, the carrier of the word and speech as such), became a dead word, the "Live Dead" - paraphrasing the sad block iron - on both sides of the border of Soviet Russia. But the block, whose "Italian poems" for Vladimir Nabokov is associated with one of the most tragic moments in his life and his family, left life-affirming, all-standing lines:
But I believe - nothing will pass without a trace
Everything so passionately I loved,
All the thrill of this life is poor.
All this incomprehensible fervor!
"It was all this, it was ..."
"... Khodasevich for Russia is saved - and he himself was ready to admit, through the bile and hissing joke, through the cold and darkness of the twisted days, that the position he occupies a special: happy loneliness inaccessible to other heights ... Waiting for the treasure stands on the shelf, at the future And the miner went there, from where, perhaps, something flies to the rumor of big poets, piercing our being for its otherworldly freshness - and giving art just that the mysterious thing is that constitutes its unprofitable sign. Well, a little more life has shifted, one more habit is broken, - its own habit of someone else's existence. " "Alien IMIG to feel your own" - wrote A.Fet ("One shock to challenge the living ...") about that almost inexpressive quality, which is owned by the "only true singer", the perfect person of art, according to Naboka: Poet, reader, critic. In the novel "Dar" such a reader - the projection of the author's consciousness seems to be resurrected from the future: "It's really that everything is charmingly trembling, which dreamed and dream of me through my poems, held in them and noticed by the reader, whose revocation I learned today? Is it really really understood everything in them, I realized that in addition to the notorious "paintings" there are more particular poetic meaning in them (when for the mind, the mind returned with music), which one displays poems in people? Did he read them on the wells, how to need to read poems? ". Oh, these vertical well wells!
In the reviews on the translation of Sasha Black Fairy Tales, Nabokov wrote about the thin lyricism of famous satirika, who drew into translations: "Sasha's verse is a black light, rolling with gutta-read music, - and the Tale of Demmel in his translation freshest, slightly smoky soft softness. All this once again shows how thin, a kind of lyrics lives in the gall of the author "Satir". " In the article "Memory A.M. Steen", Nabokov recalled about infinite kindness and delicacy, with what a famous writer was taken to entering the literary field: "He not only gave me the publication of the book of my youthful poems (" Horny Way ". Berlin, 1923) , but these poems posted, came up with a collection of the name and rules proofreading ... He, of course, not so highly appreciated them, as I was then presented (the taste of A.M. was excellent), - but he did a good job, and did it thoroughly " .
Often, Nabokov-Sirina's estimates did not coincide with someone else's opinion or its own. However, his ill-wishers, Zoilov, George Ivanova and Hippius, he calls "first-class poets." Nabokov noted the first line of the poem of Dovda Knuta "Depart from me, a man, go away," I yawned "as tasteless, but Khodasevich highly appreciated not the epigalone, but the consonant poetry" master of the workshop ", taken by" excellent things "(observation R. Timechnik):
Get away from me, man, come out, - I yawning.
This terrible price I pay for a pitiful wisdom.
See my hand, which lies on the table as a living, -
I spoil the fist and I do not want anything.
Get away from me, man. Do not try to help.
I need to hustle a barren grievous night.
He did not pay attention to the poem of Aadamovich "What was there? Shooting sunsets black ... ", lines of which became classic:
On the ground there was one capital,
Everything else is just cities.
In the early essay, Rupert Brooke, which became a kind of critical prelude, Nabokov did not always exactly, according to Donald Barton Johnson, interprets the work of the poet Georgian, attributing his high attention to the theme of "otherworld" (Pro et Contra. T. ". With .459).
As if leaving a critical testament, Nabokov writes in the preface to a collection of young Parisian poets and writers: "More life in verses, more love for the impressions of the living world, to all that does not depend on literary and other crises - and fashion, fashionable cliche, Sodomes, sincere nets, is God with them! "
Nabokov-critic imposed high demands for contemporaries, referring to Pushkin as a guide to the kingdom of literature, like Dante - to Vergilia. Probably, he could subscribe under Pushkin rows: "... it would not hurt to our poets to have the amount of ideas much more pricked than they are usually found" (PC. P.39). The ideas of art, creating that complex synthesis of music and meaning, which is called poetry when "Words are in place, and they all sound. The intonation of verse of the insurgency "- wrote Sirin in Reviews at Beatrice V.L. Piotrovsky (6,682), as if Pushkin:
Here Apollo is the ideal, there is Niobe - sadness ...
Artist, 1836.