Manual Lectures on Russian Literature: Pushkin, Gogol, Turgenef, Tolstoy

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Table of contents

• Nineteenth-Century Russian Literature
• Russian V3220, sec. 001
• 19th Century Russian Short Fiction – Two Semesters in 2015 – 2016

Inevitably, what Nabokov says of several Russian writers, can be made to apply to himself: ''Most Russian writers have been tremendously interested in Truth's exact whereabouts and essential properties. To Pushkin it was of marble under a noble sun; Dostoevski, a much inferior artist, saw it as a thing of blood and tears and hysterical and topical politics and sweat; and Chekhov kept a quizzical eye upon it, while seemingly engrossed in the hazy scenery all around. Tolstoy marched straight at it, head bent and fists clenched, and found the place where the cross had once stood, or found - the image of his own self.

The energy and wit of these images, the convergence of feeling and learning that makes them cogent, is the truth as rendered by Nabokov, and the image of himself. Here are some other examples:.

Let me make this quite clear. A dream is a show - a theatrical piece staged within the brain in a subdued light before a somewhat muddleheaded audience. The show is generally a very mediocre one, carelessly performed, with amateur actors and haphazard props and a wobbly backdrop. It might be speciously argued that in the nineteenth century people blushed and blanched more readily and more noticeably than today, mankind then being as it were younger; actually, Tolstoy is only following an old literary tradition of using the act of flushing, etc.

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Dostoevski's gloating pity for people - pity for the humble and humiliated - this pity was purely emotional and his special lurid brand of the Christian faith by no means prevented him from leading a life extremely removed from his teachings. On the other hand, Leo Tolstoy like his representative Lyovin was organically unable to allow his conscience to strike a bargain with his animal nature - and he suffered cruelly whenever this animal nature temporarily triumphed over his better self.

Nabokov argues for attention to mental or imaginative experience, created by individual artistic genius, in the concrete, technical minutiae of specific literary phenomena. He demonstrates the value and pleasure of this kind of attention, this kind of understanding.

He will be celebrated for doing so, and yet people will continue to prefer hearing about real persons, and about the personal lives of artists; and ''human interest,'' a degrading passion, will prevail over the more desirable unreal-reality of art. To make these generalizations concrete, consider Nabokov's translation and analysis of Gogol:.

We never shall know - but he almost managed to gain a footing. The chip of wood is art, the bather is Nabokov. In his hands the chip becomes a log, a raft, and he gains a footing, and he beckons us to come aboard. But the din of the ocean is the din of this real world.

Still, we want to hear him and we might even come aboard. For in the fierce isolation of his genius - in his personal voice, his humor, his huge scholarly labors - he makes room for us. View on timesmachine. TimesMachine is an exclusive benefit for home delivery and digital subscribers. To preserve these articles as they originally appeared, The Times does not alter, edit or update them. Occasionally the digitization process introduces transcription errors or other problems.

Bowers has made them into excellently readable essays, you wouldn't appreciate his achievement if you believed Nabokov's remark in ''Strong Opinions'': ''Every lecture I delivered had been carefully, lovingly handwritten and typed out, and I leisurely read it out in class. In his Chekhov lecture, for example, he says: ''On the 2nd of July, , he died far from his family and friends, amidst strangers, in a strange town. Discussing Tolstoy, he says: ''Some of you may still wonder why I and Tolstoy mention such trifles historical data contemporary with the time in novels.

For example, on ideas in literature generally and in Tolstoy particularly, he says: '' In Nabokov's Gogol essay, excerpted from his book on Gogol and reprinted in the ''Lectures,'' he observes something similar to the above: ''The faceless saloon-walker For example, on Chekhov's technique: ''Exact and rich characterization is attained by careful selection and careful distribution of minute but striking features, with perfect contempt for the sustained descriptions, repetition, and strong emphasis of ordinary authors. Literature must be taught, he believes, from within: '' First the insistence: ''Tolstoy keeps a keen eye on his characters.

Notice what else Nabokov says Tolstoy does to a character: ''In the course of the novel, Tolstoy refers several times to Vronski's splendid regular teeth Here are some other examples: ''What do I mean by the ingredients of a dream? Lermontov, A Hero of Our Time pp.

Russian V3220, sec. 001

Short Paper 1 due at 5 PM in my office door slot Tues. Turgenev, Fathers and Sons pp. Short Paper 2 due at 5 PM in my office door slot Tues. Tolstoy's letter to N.

Strakhov on p. Tolstoy, Anna Karenina Part V: pp. Thanksgiving recess -- no class! Course overview: Henry James called Russian novels of the 19th century "loose baggy monsters.

Nineteenth-Century Russian Novel in Translation. Fall Room: Lawrence These vile perverts killed… some of unwritten great stories, some of unwritten great novels and some of unwritten great poems. This is one of the blackest crimes of homosexuals against Russia — and Stephen Fry of course now afraid to remember… or afraid write. Russians are degenerates who should be eliminated. Alas poor Yorick… Russia has already won twice united! Europe — in and in I have to pause and take a deep breath, in an, alas, futile effort to find included in this list of Olympians, the name of Vladimir Nabokov, possibly the most brilliant and original Russian writer of them all.

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