Pale Fire Nabokov Quotes

Dear Jesus, do something.

All colors made me happy: even gray. My eyes were such that literally they Took photographs.

The sun is a thief: she lures the sea and robs it. The moon is a thief: he steals his silvery light from the sun. The sea is a thief: it dissolves the moon.

We are most artistically caged.

A thousand years ago five minutes were Equal to forty ounces of fine sand. Outstare the stars. Infinite foretime and Infinite aftertime: above your head They close like giant wings, and you are dead.

There was a time in my demented youth When somehow I suspected that the truth About survival after death was known To every human being: I alone Knew nothing, and a great conspiracy Of books and people hid the truth from me.

All the seven deadly sins are peccadilloes but without three of them, Pride, Lust, and Sloth, poetry might never have been born.

And blood-black nothingness began to spin. A system of cells interlinked, within cells interlinked, within cells interlinked within one stem. And dreadfully distinct against the dark, a tall white fountain played.

The lost glove is happy.

My God died young. Theolatry i found Degrading, and its premises, unsound. No free man needs God; but was I free?

If I correctly understand the sense of this succinct observation, our poet suggests here that human life is but a series of footnotes to a vast obscure unfinished masterpiece.

All religions are based on obsolete terminology.

Solitude is the playfield of Satan.

I was the shadow of the waxwing slain/By the false azure in the windowpane...

do what only a true artist can do ... pounce upon the forgotten butterfly of revelation

for better or worse, it is the commentator who has the last word.

Reality is neither the subject nor the object of true art which creates its own special reality having nothing to do with the average "reality" perceived by the communal eye.

I was the shadow of the waxwing slain By the false azure in the windowpane; I was the smudge of ashen fluff -and I Lived on, flew on, in the reflected sky. And from the inside, too, I'd duplicate Myself, my lamp, an apple on a plate: Uncurtaining the night, I'd let dark glass Hang all the furniture above the grass, And how delightful when a fall of snow Covered my glimpse of lawn and reached up so As to make chair and bed exactly stand Upon that snow, out in that crystal land!

I was the shadow of the waxwing slain By the false azure in the windowpane; I was the smudge of ashen fluff -and I Lived on, flew on, in the reflected sky.

I cannot disobey something which I do not know and the reality of which I have the right to deny.

The summer night was starless and stirless, with distant spasms of silent lightning.

And he absolutely had to find her at once to tell her that he adored her, but the large audience before him separated him from the door, and the notes reaching him through a succession of hands said that she was not available; that she was inaugurating a fire; that she had married an american businessman; that she had become a character in a novel; that she was dead.

Come and be worshiped, come and be caressed, 270  My dark Vanessa, crimson-barred, my blest My Admirable butterfly! Explain How could you, in the gloam of Lilac Lane, Have let uncouth, hysterical John Shade Blubber your face, and ear, and shoulder blade?

We are absurdly accustomed to the miracle of a few written signs being able to contain immortal imagery, involutions of thought, new worlds with live people, speaking, weeping, laughing. We take it for granted so simply that in a sense, by the very act of brutish routine acceptance, we undo the work of the ages, the history of the gradual elaboration of poetical description and construction, from the treeman to Browning, from the caveman to Keats. What if we awake one day, all of us, and find ourselves utterly unable to read? I wish you to gasp not only at what you read but at the miracle of its being readable.

Do those clowns really believe what they teach?

There is a very loud amusement park right in front of my present lodgings.

I shall continue to exist. I may assume other disguises, other forms, but I shall try to exist.

that is his head, containing a brain of a different brand than that of the synthetic jellies preserved in the skulls around him

On such sunny, sad mornings I always feel in my bones that there is a chance yet of my not being excluded from Heaven, and that salvation may be granted to me despite the frozen mud and horror in my heart.

I think she always nursed a small mad hope.

Coordinating there Events and objects with remote events And vanished objects. Making ornaments Of accidents and possibilities.

and finally there was the sleepless night when i decided to explore and fight the foul, the inadmissible abyss, devoting all my twisted life to this one task. today i'm sixty-one. waxwings are berry-pecking. a cicada sings.

When I hear a critic speaking of an author’s sincerity I know that either the critic or the author is a fool

She was my darling: difficult, morose - But still my darling.

Resemblances are the shadows of differences. Different people see different similarities and similar differences.

I knew—but I did know that I had crossed 700  The border. Everything I loved was lost But no aorta could report regret. A sun of rubber was convulsed and set; And blood-black nothingness began to spin A system of cells interlinked within Cells interlinked within cells interlinked Within one stem. And dreadfully distinct Against the dark, a tall white fountain played. I

I can't tell you how I knew - but I did know that I had crossed The border. Everything I loved was lost But no aorta could report regret. A sun of rubber was convulsed and set; And blood-black nothingness began to spin A system of cells interlinked within Cells interlinked within cells interlinked Within one stem. And dreadfully distinct Against the dark, a tall white fountain played.

It is not easy to describe lucidly in short notes to a poem the various approaches to a fortified castle,

Now I shall spy on beauty as none has Spied on it yet. Now I shall cry out as None has cried out. Now I shall try what none Has tried. Now I shall do what none has done.

A poet's purified truth can cause no pain, no offense. True art is above false honor.

For we die every day; oblivion thrives Not on dry thighbones but on blood-ripe lives, And our best yesterdays are now foul piles Of crumpled names, phone numbers and foxed files.

No free man needs a God; but was I free?

Why our poet chose to give his 1958 hurricane a little-used Spanish name sometimes given to parrots) instead of Linda or Lois, is not clear.

Feeling a bit nervous, as most people do at the prospect of seeing a doctor, I thought I would buy on my way to him something soothing to prevent an accelerated pulse from misleading credulous science.

In the wet starlight and on the wet ground. The lake lay in the mist, its ice half drowned. A blurry shape stepped off the reedy bank Into a crackling, gulping swamp, and sank.

Precautions to be taken in the case Of freak reincarnation: what to do On suddenly discovering that you Are now a young and vulnerable toad Plump in the middle of a busy road, Or a bear cub beneath a burning pine, Or a book mite in a revived divine.

And to fulfill the fish wish of the womb, A school of Freudians headed for the tomb.

A system of cells interlinked within Cells interlinked within cells interlinked Within one stem. And dreadfully distinct Against the dark, a tall white fountain played.

I feel I understand Existence, or at least a minute part Of my existence, only through my art,

Now I shall speak of evil as none has Spoken before. I loathe such things as jazz; The white-hosed moron torturing a black Bull, rayed with red; abstractist bric-a-brac; Primitivist folk-masks; progressive schools; Music in supermarkets; swimming pools; Brutes, bores, class-conscious Philistines, Freud, Marx, Fake thinkers, puffed-up poets, frauds, and sharks.

Of the not very many ways known of shedding one's body, falling, falling, falling is the supreme method, but you have to select your sill or ledge very carefully so as not to hurt yourself or others. Jumping from a high bridge is not recommended even if you cannot swim, for wind and water abound in weird contingencies, and tragedy ought not to culminate in a record dive or a policeman's promotion. If you rent a cell in the luminous waffle, room 1915 or 1959, in a tall business centre hotel browing the star dust, and pull up the window, and gently - not fall, not jump - but roll out as you should for air comfort, there is always the chance of knocking clean through into your own hell a pacific noctambulator walking his dog; in this respect a back room might be safer, especially if giving on the roof of an old tenacious normal house far below where a cat may be trusted to flash out of the way. Another popular take-off is a mountaintop with a sheer drop of say 500 meters but you must find it, because you will be surprised how easy it is to miscalculate your deflection offset, and have some hidden projection, some fool of a crag, rush forth to catch you, causing you to bounce off it into the brush, thwarted, mangled and unnecessarily alive. The ideal drop is from an aircraft, your muscles relaxed, your pilot puzzled, your packed parachute shuffled off, cast off, shrugged off - farewell, shootka (little chute)! Down you go, but all the while you feel suspended and buoyed as you somersault in slow motion like a somnolent tumbler pigeon, and sprawl supine on the eiderdown of the air, or lazily turn to embrace your pillow, enjoying every last instant of soft, deep, death-padded life, with the earth's green seesaw now above, now below, and the voluptuous crucifixion, as you stretch yourself in the growing rush, in the nearing swish, and then your loved body's obliteration in the Lap of the Lord.

Although I am capable, through long dabbling in blue magic, of imitating any prose in the world (but singularly enough not verse—I am a miserable rhymester), I do not consider myself a true artist, save in one matter: I can do what only a true artist can do—pounce upon the forgotten butterfly of revelation, wean myself abruptly from the habit of things, see the web of the world, and the warp and the weft of that web.

There was a sudden sunburst in my head. And then black night. That blackness was sublime. I felt distributed through space and time: One foot upon a mountaintop, one hand 150  Under the pebbles of a panting strand, One ear in Italy, one eye in Spain, In caves, my blood, and in the stars, my brain. There were dull throbs in my Triassic; green Optical spots in Upper Pleistocene, An icy shiver down my Age of Stone, And all tomorrows in my funnybone. During

Time means succession, and succession, change: Hence timelessness is bound to disarrange Schedules of sentiment.

If I correctly understand the sense of this succinct observation, our poet suggests here that human life is but a series of footnotes to a vast obscure unfinished masterpiece. Line

When stripped and shiny in the mist of the bath house, his bold virilia contrasted harshly with his girlish grace. He was a regular faunlet.

I am a strict vegetarian...The usual questions were fired at me about eggnogs and milkshakes being or not being acceptable to one of my persuasion. Shade said that with him it was the other way around: he must make a definite effort to partake of a vegetable. Beginning a salad, was to him like stepping into sea water on a chilly day, and he had always to brace himself in order to attack the fortress of an apple.

Another tormentor inquired if it was true that I had installed two ping-pong tables in my basement. I asked, was it a crime? No, he said, but why two? "Is that a crime?" I countered, and they all laughed.

Ideas in modern Russia are machine-cut blocks coming in solid colors; the nuance is outlawed, the interval walled up, the curve grossly stepped.

I notice a whiff of Swift in some of my notes. I too am a desponder in my nature, an uneasy, peevish, and suspicious man, although I have my moments of volatility and fou rire.

The evening is the time to praise the day

I think there must exist a special subversive group of pseudo-cupids - plump hairless little devils whom Satan commissions to make disgusting mischief in sacrosanct places.

From far below mounted the clink and tinkle of distant masonry work, and a sudden train passed between gardens, and a heraldic butterfly volant en arrière, sable, a bend gules, traversed the stone parapet, and John Shade took a fresh card.

Two silent time zones had now merged to form the standard time of one man's fate; and it is not impossible that the poet in New Wye and the thug in New York awoke that morning at the same crushed beat of their Timekeeper's stopwatch.

Solitude is the playfield of Satan. I

Zembla is a site devoted to the life and works of author, translator, and lepidopterist.

The heating system was a farce, depending as it did on registers in the floor wherefrom the tepid exhalations of a throbbing and groaning basement furnace were transmitted to the rooms with the faintness of a moribund’s last breath.

My eyes were such that literally they Took photographs. Whenever I’d permit, Or, with a silent shiver, order it, Whatever in my field of vision dwelt – An indoor scene, hickory leaves, the svelte Stilettos of a frozen stillicide – Was printed on my eyelids’ nether side Where it would tarry for an hour or two, And while this lasted all I had to do Was close my eyes to reproduce the leaves,

I was an infant when my parents died. Thye both were ornithologists. I've tried So often to evoke them that today I have a thousand parents. Sadly they Dissolve in their own virtues and recede, But certain words, chance words I hear or read, Such as "bad heart" always to him refer, And "cancer of the pancreas" to her.

Life Everlasting - based on a misprint! I mused as I drove homeward: take the hint, And stop investigating my abyss? But all at once it dawned on me that this Was the real point, the contrapuntal theme; Just this: not text, but texture; not the dream But topsy-turvical coincidence, Not flimsy nonsense, but a web of sense.

Stilletos of a frozen stillicide [...] In the lovely line heading this comment the reader should note the last word. My dictionary defines it as 'a succession of drops falling from the eaves, eavesdrop, cavesdrop.' I remember having encountered it for the first time in a poem by Thomas Hardy. The bright frost has eternalized the bright eavesdrop.

There are certain trifles I do not forgive. Not having read the required book. Having read it like an idiot.” - John Shade

The Goldsworth castle became particularly solitary after that turning point at dusk which resembles so much the nightfall of the mind. Stealthy

I tore apart the fantasies of Poe, And dealt with childhood memories of strange Nacreous gleams beyond the adults’ range.

One of our sillier Zemblan proverbs says: the lost glove is happy. Promptly

of his lakeside shack A watchman, Father Time, all gray and bent, Emerged with his uneasy dog and went Along the reedy bank. He came too late.

He began with the day’s copy of The New York Times. His lips moving like wrestling worms, he read about all kinds of things. Hrushchov

He started as a maker of Cartesian devils—imps of bottle glass bobbing up and down in methylate-filled tubes hawked during Catkin Week on the boulevards. He

Physically, he was a sickly bald-headed man resembling a pallid gland. His

Yet if prior to life we had Been able to imagine life, what mad, Impossible, unutterably weird, Wonderful nonsense it might have appeared!

Now I shall spy on beauty as none has Spied on it yet.

We are absurdly accustomed to the miracle of a few written signs being able to contain immortal imagery, involutions of thought, new worlds with live people, speaking, weeping , laughing... I wish you to gasp not only at what you read but at the miracle of its being readable.

Thus with cautious steps, among deceived enemies, I circulated, plated with poetry, armored with rhymes, stout with another man's song, stiff with cardboard, bullet-proof at long last.

I want you to know that no matter how much you hurt me, you cannot hurt my love," and this sentence (if we re-English it from the Zemblan) came out as: "I desire you and love when you flog me.

Speaking of novels,’ I said, ‘you remember we decided once, you, your husband and I, that Proust’s rough masterpiece was a huge, ghoulish fairy tale, an asparagus dream, totally unconnected with any possible people in any historical France, a sexual travestissement and a colossal farce, the vocabulary of genius and its poetry, but no more, impossibly rude hostesses, please let me speak, and even ruder guests, mechanical Dostoevskian rows and Tolstoian nuances of snobbishness repeated and expanded to an unsufferable length, adorable seascapes, melting avenues, no, do not interrupt me, light and shade effects rivaling those of the greatest English poets, a flora of metaphors, described—by Cocteau, I think—as “a mirage of suspended gardens,” and, I have not yet finished, an absurd, rubber-and-wire romance between a blond young blackguard (the fictitious Marcel), and an improbable jeune fille who has a pasted-on bosom, Vronski’s (and Lyovin’s) thick neck, and a cupid’s buttocks for cheeks; but—and now let me finish sweetly—we were wrong, Sybil, we were wrong in denying our little beau ténébreux the capacity of evoking “human interest”: it is there, it is there—maybe a rather eighteenth-centuryish, or even seventeenth-centuryish, brand, but it is there. Please, dip or redip, spider, into this book [offering it], you will find a pretty marker in it bought in France, I want John to keep it. Au revoir, Sybil, I must go now. I think my telephone is ringing.

The subject of teaching Shakespeare at college level having been introduced: “First of all, dismiss ideas, and social background, and train the freshman to shiver, to get drunk on the poetry of Hamlet or Lear, to read with his spine and not with his skull.” Kinbote: “You appreciate particularly the purple passages?” Shade: “Yes, my dear Charles, I roll upon them as a grateful mongrel on a spot of turf fouled by a Great Dane.

This wonder was enhanced by my awareness of their not feeling what I felt, of their not seeing what I saw, of their taking Shade for granted, instead of drenching every nerve, so to speak, in the romance of his presence.

Line 130: I never bounced a ball or swung a bat Frankly I too never excelled in soccer and cricket; I am a passable horseman, a vigorous though unorthodox skier, a good skater, a tricky wrestler, and an enthusiastic mountain climber.

The heating system was a farce, depending as it did on registers in the floor wherefrom the tepid exhalations of a throbbing and groaning basement furnace were transmitted to the rooms with the faintness of a moribund’s last breath. By

Otar, her lover, said that when you walked behind her, and she knew you were walking behind her, the swing and play of those slim haunches was something intensely artistic, something Arab girls were taught in special schools by special Parisian panders who were afterwards strangled. Her

When the soul adores Him Who guides it through mortal life, when it distinguishes His sign at every turn of the trail, painted on the boulder and notched in the fir trunk, when every page in the book of one’s personal fate bears His watermark, how can one doubt that He will also preserve us through all eternity? So what can stop one from effecting the transition? What can help us to resist the intolerable temptation? What can prevent us from yielding to the burning desire for merging in God? We who burrow in filth every day may be forgiven perhaps the one sin that ends all sins.

Maud Shade was eighty when a sudden hush Fell on her life. We saw the angry flush And torsion of paralysis assail Her noble cheek. We moved her to Pinedale, Famed for its sanitarium. There she'd sit In the glassed sun and watch the fly that lit Upon her dress and then upon her wrist. Her mind kept fading in the growing mist. She still could speak. She paused, and groped, and found What seemed at first a serviceable sound, But from adjacent cells impostors took The place of words she needed, and her look Spelt imploration as she fought in vain To reason with the monsters in her brain.

Eystein had also resorted to a weird form of trickery: among his decorations of wood or wool, gold or velvet, he would insert one which was really made of the material elsewhere imitated by paint. This device which was apparently meant to enhance the effect of his tactile and tonal values had, however, something ignoble about it and disclosed not only an essential flaw in Eystein's talent, but the basic fact that "reality" is neither the subject nor the object of true art which creates its own special reality having nothing to do with the average "reality" perceived by the communal eye.

Lafontaine was wrong: Dead is the mandible, alive the song.

Life is a message scribbled in the dark. Anonymous.

A thread of subtle pain, Tugged at by playful death, released again But always present, ran through me.

The mistake can only be ascribed to the streak of stupidity that fatally runs through the most competent tyranny.

parhelia,

Would he ever come for me?" I used to wonder waiting and waiting, in certain amber-and-rose crepuscules for a ping-pong friend, or for old John Shade.

Retake the falling snow: each drifting flake Shapeless and slow, unsteady and opaque, A dull dark white against the day’s pale white And abstract larches in the neutral light.

Once transmuted by you into poetry, the stuff will be true, and the people will come alive. A poet's purified truth can cause no pain, no offense. True art is above false honor.

In which portrayed events forever stay. I think she always nursed a small mad hope.

parts, solid and ample,

Pale Fire, Vladimir Nabokov.

I mesmerized him with it, I saturated him with my vision, I pressed upon him, with a drunkard’s wild generosity, all that I was helpless myself to put into verse.

For as we know from dreams it is so hard To speak to our dear dead! They disregard Our apprehension, queaziness and shame - The awful sense that they're not quite the same.

He excused himself saying he felt out of sorts, and continued to clean the bowl of his pipe as fiercely as if it were my heart he was hollowing out.

Now I shall speak of evil as none has Spoken before. I loathe such things as jazz; The white-hosed moron torturing a black Bull, rayed with red; abstractist bric-a-brac; Primitivist folk-masks; progressive schools; Music in supermarkets; swimming pools; Brutes, bores, class-conscious Philistines, Freud, Marx, 930  Fake thinkers, puffed-up poets, frauds and sharks.

I have always had a number of parts lined up in case the muse failed. A lepidopterist exploring famous jungles came first, then there was the chess grand master, then the tennis ace with an unreturnable service, then the goalie saving a historic shot, and finally, finally, the author of a pile of unknown writings- Pale Fire, Lolita, Ada- which my heirs discover and publish.

Mother, what’s chtonic?” That, too, you’d explain, Appending: “Would you like a tangerine?” “No. Yes. And what does sempiternal mean?” You’d hesitate. And lustily I’d roar The answer from my desk through the closed door.

And speaking of this wonderful machine: [840] I’m puzzled by the difference between Two methods of composing: A, the kind Which goes on solely in the poet’s mind, A testing of performing words, while he Is soaping a third time one leg, and B, The other kind, much more decorous, when He’s in his study writing with a pen. In method B the hand supports the thought, The abstract battle is concretely fought. The pen stops in mid-air, then swoops to bar [850] A canceled sunset or restore a star, And thus it physically guides the phrase Toward faint daylight through the inky maze. But method A is agony! The brain Is soon enclosed in a steel cap of pain. A muse in overalls directs the drill Which grinds and which no effort of the will Can interrupt, while the automaton Is taking off what he has just put on Or walking briskly to the corner store [860] To buy the paper he has read before.

Of students’ papers: ‘I am generally very benevolent [said Shade]. But there are certain trifles I do not forgive.’ Kinbote: ‘For instance?’ ‘Not having read the required book. Having read it like an idiot. Looking in it for symbols; example: “The author uses the striking image green leaves because green is the symbol of happiness and frustration.” I am also in the habit of lowering a student’s mark catastrophically if he uses “simple” and “sincere” in a commendatory sense; examples: “Shelley’s style is always very simple and good”; or “Yeats is always sincere.” This is widespread, and when I hear a critic speaking of an author’s sincerity I know that either the critic or the author is a fool.’ Kinbote: ‘But I am told this manner of thinking is taught in high school?’ ‘That’s where the broom should begin to sweep. A child should have thirty specialists to teach him thirty subjects, and not one harassed schoolmarm to show him a picture of a rice field and tell him this is China because she knows nothing about China, or anything else, and cannot tell the difference between longitude and latitude.’ Kinbote: ‘Yes. I agree.

During these periods of teaching, Charles Xavier made it a rule to sleep at a pied-à-terre he had rented, as any scholarly citizen would, in Coriolanus Lane: a charming, central-heated studio with adjacent bathroom and kitchenette.

They were contemplating moving into another house or, more exactly, loudly saying to each other, so as to be overheard by anyone who might be listening, that they were contemplating moving, when all at once the fiend was gone, as happens with the moskovett, that bitter blast, that colossus of cold air that blows on our eastern shores throughout March, and then one morning you hear the birds, and the flags hang flaccid, and the outlines of the world are again in place.

Mere springs and coils produced the inward movements of our clockwork man. He might be termed a Puritan. One essential dislike, formidable in its simplicity, pervaded his dull soul: he disliked injustice and deception. He disliked their union—they were always together—with a wooden passion that neither had, nor needed, words to express itself. Such a dislike should have deserved praise had it not been a by-product of the man’s hopeless stupidity. He called unjust and deceitful everything that surpassed his understanding. He worshiped general ideas and did so with pedantic aplomb. The generality was godly, the specific diabolical. If one person was poor and the other wealthy it did not matter what precisely had ruined one or made the other rich: the difference itself was unfair, and the poor man who did not denounce it was as wicked as the rich one who ignored it. People who knew too much, scientists, writers, mathematicians, crystalographers and so forth, were no better than kings or priests: they all held an unfair share of power of which others were cheated. A plain decent fellow should constantly be on the watch tor some piece of clever knavery on the part of nature and neighbor.

Her mind kept fading in the growing mist. She still could speak. She paused, and groped, and found What seemed at first a serviceable sound, But from adjacent cells impostors took The place of words she needed, and her look Spelt imploration as she sought in vain To reason with the monsters in her brain.

Time means succession, and succession, change: Hence timelessness is bound to disarrange Schedules of sentiment. We give advice 570  To widower. He has been married twice: He meets his wives; both loved, both loving, both Jealous of one another. Time means growth, And growth means nothing in Elysian life.

From beyond the shining corrugations of the ocean I salute here brave Bretwit! Let there appear for a moment his hand and mine firmly clasping each other across the water over the golden wake of an emblematic sun. Let no insurance firm or airline use this insigne on the glossy page of a magazine as an ad badge under the picture of a retired businessman stupefied and honored by the sight of the technicolored snack the air hostess offers him with everything else she can give; rather, let this lofty handshake be regarded in our cynical age of frenzied heterosexualism as a last, but lasting, symbol of valor and self-abnegation.

I am looking at him, I am witnessing a unique physiological phenomenon: John Shade perceiving and transforming the world, taking it in and taking it apart, recombining its elements in the very process of storing them up so as to produce at some unspecified date an organic miracle, a fusion of image and music, a line of verse.

I am looking at him, I am witnessing a unique physiological phenomenon: John Shade perceiving and transforming the world, taking it in and taking it apart, recombining its elements in the very process of storing them up so as to produce at some unspecified date an organic miracle, a fusion of image and music, a line of verse.

There are events, strange happenings, that strike The mind as emblematic. They are like Lost similes adrift without a string. Attached to nothing. Thus that northern king, Whose desperate escape from prison was Brought off successfully only because Some forty of his followers that night Impersonated him and aped his flight -

The setting sun that lights the tips Of TV's giant paperclips Upon the roof; The shadow of the doorknob that At sundown is a baseball bat Upon the door, The cardinal that likes to sit And make chip-wit, chip-wit, chip-wit Upon the tree; The empty little swing that swings Under the tree: these are the things That break my heart.

Estamos absurdamente acostumados ao milagre de que uns poucos sinais escritos são capazes de conter imagens imortais, espirais de pensamentos, novos mundos com pessoas vivas que falam, choram e riem. Aceitamos isso com tanta simplicidade que de certo modo, pelo próprio ato da aceitação insensível e rotineira, desfazemos a obra de todos os tempos, a história do desenvolvimento gradual da descrição e construção poéticas, do hominídeo a Browning, do troglodita a Keats. Que aconteceria se acordássemos um dia, todos nós, e descobríssemos que éramos totalmente incapazes de ler? Quero que vocês se maravilhem não apenas com o que lêem, mas com o milagre de que algo seja passível de ser lido.

At Christmas parties games were rough, no doubt, And one shy little guest might be left out; But let's be fair: while children of her age Were cast as elves and fairies on the stage That she'd helped paint for the school pantomime, My gentle girl appeared as Mother Time, A bent charwoman with a slop pail and broom, And like a fool I sobbed in the men's room.

Throughout eternity our poor ghosts are exposed to nameless vicissitudes. There is no appeal, no advice, no support, no protection, nothing. Poor Kinbote's ghost, poor Shade's shade, may have blundered, may have taken the wrong turn somewhere—oh, from sheer absent-mindedness, or simply through ignorance of a trivial rule in the preposterous game of nature—if there be any rules.

But soon the poltergeist ran out of ideas in connection with Aunt Maud and became, as it were, more eclectic. All the banal motions that objects are limited to in such cases, were gone through in this one. Saucepans crashed in the kitchen; a snowball was found (perhaps, prematurely) in the icebox; once or twice Sybil saw a plate sail by like a discus and land safely on the sofa; lamps kept lighting up in various parts of the house; chairs waddled away to assemble in the impassable pantry; mysterious bits of string were found on the floor; invisible revelers staggered down the staircase in the middle of the night; and one winter morning Shade, upon rising and taking a look at the weather, saw that the little table from his study upon which he kept Bible-like Webster open at M was standing in a state of shock outdoors, on the snow (subliminally this may have participated in the making of lines 5-12). I imagine, that during the period the Shades, or at least John Shade, experienced a sensation of odd instability as if parts of the everyday, smoothly running world had got unscrewed, and you became aware that one of your tires was rolling beside you, or that your steering wheel had come off.

I wish to convey, in making this reference to Wordsmith briefer than the notes on the Goldsworth and Shade houses, the fact that the college was considerably farther from them than they were from one another. It is probably the first time that the dull pain of distance is rendered through an effect of style and that a topographical idea finds its verbal expression in a series of foreshortened sentences.

We must assume, I think, that the forward projection of what imagination he had, stopped at the act, on the brink of all its possible consequences; ghost consequences, comparable to the ghost toes of an amputee or to the fanning out of additional squares which a chess knight (that skipspace piece), standing on a marginal file, "feels" in phantom extensions beyond the board, but which have no effect whatever on his real moves, on the real play.

We must assume, I think, that the forward projection of what imagination he had, stopped at the act, on the brink of all its possible consequences; ghost consequences, comparable to the ghost toes of an amputee or to the fanning out of additional squares which a chess knight (that skips-pace piece), standing on a marginal file, "feels" in phantom extensions beyond the board, but which have no effect whatever on his real moves, on the real play.

The melacholy and the tenderness of mortal life; the passion and the pain; The claret tailight of that dwindling plane Off Hesperus; your gesture dismay On running out of cigarettes; the way You smile at dogs; the trail of silver slime Snails leave or flagstone; this good ink, this rhyme. This index card, this slender rubber band Which always forms, when dropped, an ampersand, Are found in Heaven by the newlydead Stored in its strongholds through the years.

Time means succession, and succession, change: Hence timelessness is bound to disarrange Schedules of sentiment. We give advice 570  To widower. He has been married twice: He meets his wives; both loved, both loving, both Jealous of one another. Time means growth, And growth means nothing in Elysian life. Fondling a changeless child, the flax-haired wife Grieves on the brink of a remembered pond Full of a dreamy sky. And, also blond, But with a touch of tawny in the shade, Feet up, knees clasped, on a stone balustrade The other sits and raises a moist gaze 580  Toward the blue impenetrable haze. How to begin? Which first to kiss? What toy To give the babe? Does that small solemn boy Know of the head-on crash which on a wild March night killed both the mother and the child? And she, the second love, with instep bare In ballerina black, why does she wear The earrings from the other’s jewel case? And why does she avert her fierce young face?

Maud Shade was eighty when a sudden hush Fell on her life. We saw the angry flush And torsion of paralysis assail Her noble cheek. We moved her to Pinedale, Famed for its sanitarium. There she’d sit 200  In the glassed sun and watch the fly that lit Upon her dress and then upon her wrist. Her mind kept fading in the growing mist. She still could speak. She paused, and groped, and found What seemed at first a serviceable sound, But from adjacent cells impostors took The place of words she needed, and her look Spelt imploration as she sought in vain To reason with the monsters in her brain.

How much happier the wide-awake indolents, the monarchs among men, the rich monstrous brains deriving intense enjoyment and rapturous pangs from the balustrade of a terrace at nightfall, from the lights and the lake below, from the distant mountain shapes melting into the dark apricot of the afterglow, from the black conifers outlined against the pale ink of the zenith, and from the garnet and green flounces of the water along the silent, sad, forbidden shoreline. Oh my sweet Boscobel! And the tender and terrible memories, and the shame, and the glory, and the maddening intimations, and the star that no party member can ever reach.

Idel mekaniska fjädrar och hjul skapade de inre rörelserna hos vår urverksmänniska. Man skulle kunna kalla honom puritan. En grundläggande motvilja, formidabel i sin enkelhet, genomsyrade hans tröga själ: han avskydde bedrägeri och orättvisor. Han ogillade föreningen av dessa - de förekom ständigt i par - med träig lidelse som varken ägde eller krävde några ord för att uttryckas. En sådan motvilja skulle ha förtjänat beröm om den inte hade varit en biprodukt av mannens hopplösa stupiditet. Allt som överskred hans fattningsförmåga kallade han orättvist och bedrägligt. Han dyrkade allmänna föreställningar med pedantisk energi. Det allmänna var gudalikt, det specifika djävulskt. Var den ena människan fattig och den andra rik; själva skillnaden var orättvis, och den fattige som inte fördömde den var lika klandervärd som den rike som ignorerade den. Människor som visste för mycket - vetenskapsmän, författare, matematiker, kristallografer etc. - var inte bättre än kungar och präster: de ägde alla en orättvis andel av makten som de andra hade blivit lurade på. En vanlig hederlig person måste ständigt vara på sin vakt mot någon form av listig svindel från naturens och nästans sida.

Since my biographer may be too staid Or know too little to affirm that Shade Shaved in his bath, here goes: "He'd fixed a sort Of hinge-and-screw affair, a steel support Running across the tub to hold in place The shaving mirror right before his face And with his toe renewing tap-warmth, he'd Sit like a king there, and like Marat bleed." The more I weigh, the less secure my skin; In places it's ridiculously thin; Thus near the mouth: the space between its wick And my grimace, invited the wicked nick. Or this dewlap: some day I must set free The Newport Frill inveterate in me. My Adam's apple is a prickly pear: Now I shall speak of evil and despair As none has spoken. Five, six, seven, eight, Nine strokes are not enough. Ten. I palpate Through strawberry-and-cream the gory mess And find unchanged that patch of prickliness. I have my doubts about the one-armed bloke Who in commercials with one gliding stroke Clears a smooth path of flesh from ear to chin, Then wipes his faces and fondly tries his skin. I'm in the class of fussy bimanists. As a discreet ephebe in tights assists A female in an acrobatic dance, My left hand help, and holds, and shifts its stance. Now I shall speak...Better than any soap Is the sensation for which poets hope When inspiration and its icy blaze, The sudden image, the immediate phrase Over the skin a triple ripple send Making the little hairs all stand on end As in the enlarged animated scheme Of whiskers mowed when held up by Our Cream.

Azt halljuk, hogy a művészet elkerülhetetlenül művészetkommentálássá vált; félünk attól, hogy a technika elnyeli azt, ami egykoron tartalomként volt ismeretes. Minderről azt mondják, siralmas dolog, gyenge látvány, szomorú állapot. És mégis, nézzük csak meg, hány a fentiekhez hasonló módon fogant művészi alkotás virágzik, talál lelkes követésre, és indít meg mélyen bennünket. Kell valami jónak is lennie mind e negatívumokban. És van is. Ezek a művek állandóan a jelentőségteljesség mind költőibb területei felé tartanak. Legyünk konkrétabbak: a Godot-ra várva rendkívül megindító és részvétteli antidráma. Az ürességgel és cifrasággal foglalkozó Az édes élet furcsa módon éltető, sőt ösztönző film. Nabokov antiregénye, a Sápadt tűz (Pale Fire) szenzációs mestermű, hőse, Charles Kinbote valódi antihős. Balanchine legabsztraktabb, legelvontabb balettjai bombasikerek. De Konoing képei csodálatosan dekoratívak, szuggesztívek, serkentőek és rendkívül drágák. Ez valóban igen hosszú lista lehet, ám egyvalamit nem foglalhatnék bele – valamely komoly antizene-darabot. A zene nem boldogulhat mint anti-művészet, mivel gyökerében és radikálisan absztrakt, míg a többi művészet mind alapvetően a valóság képével foglalkozik – szavakkal, formákkal, történetekkel, az emberi testtel. És amikor egy kiváló művész a valóság képét absztrahálja, vagy másik, látszatra nem odaillő képpel kapcsolja össze, vagy illogikus módon vegyíti – ez a költői formába öntés. Ebben az értelemben Joyce poétikusabb, mint Zola, Balanchine, mint Petipa, Nakobov, mint Tolsztoj, Fellini, mint Griffith. De John Cage nem költőibb Mahlernál, s Boulez sem Debussynél.

Vanessa atalanta has written poetry by honey bees.

I was holding all Zembla pressed to my heart.

And the tender and terrible memories, and the shame, and the glory...

As St. Augustine said, 'One can know what God is not; one cannot know what He is.' I think I know what He is not: He is not despair, He is not terror, He is not the earth in one's rattling throat, not the black hum in one's ears fading to nothing in nothing. I know also that the world could not have occurred fortuitously, and that somehow Mind is involved as a main factor in the making of the universe. In trying to find the right name for that Universal Mind, or First Cause, or the Absolute, or Nature, I submit that the Name of God has priority.

Most of them clowned their way back to freedom;

His misshapen body, that gray mop of abundant hair, the yellow nails of his pudgy fingers, the bags under his lusterless eyes, were only intelligible if regarded as the waste products eliminated from his intrinsic self by the same forces of perfection which purified and chiseled his verse. He was his own cancellation.

We are absurdly accustomed to the miracle of a few written signs being able to contain immortal imagery, in-volutions of thought, new worlds with live people, speaking, weeping, laughing. We take it for granted so simply that in a sense, by the very act of brutish routine acceptance, we undo the work of the ages, the history of the gradual elaboration of poetical description and con-struction, from the treeman to Browning, from the caveman to Keats. What if we awake one day, all of us, and find ourselves utterly unable to read? I wish you to gasp not only at what you read but at the miracle of its being readable (so I used to tell my students).

We can now go further and describe, to a doctor or to anybody else willing to listen to us, the condition of this primate's soul. He could read, write and reckon, he was endowed with a modicum of self-awareness (with which he did not know what to do), some duration of consciousness, and a good memory for faces, names, dates and the like. Spiritually he did not exist. Morally he was a dummy pursuing another dummy.

The last king of Zembla - partly under the influence of his uncle Conmal, the great translator of Shakespeare, (...) had become, despite frequent migraines, passionately addicted to the study of literature.

Le somiglianze sono l'ombra delle differenze. Persone diverse notano somiglianze diverse e diversità somiglianti.