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University Microfiims International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St, John's Road, Tyler's Green High Wycombe, Bucks INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photoyapher suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. University Microfiims International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St, John's Road, Tyler's Green High Wycombe, Bucks. England HPlO 8HR MASTERS THESIS 13-9865 ROACH, David Christopher Wilson "ACCIDEm’S AND POSSIBILITIES": UNCERTAINTY IN NABOKOV'S PALE FIRE. The American University, M.A., 1977 Literature, modem Xerox University Microfilms, Ann Arbor. Michigan 4sio6 "AGGIDSNTS AND POSSIBILITIES'*! UNCERTAINTY IN NABOKOV'S PAIÆ FIRE by David O.Vt Roach Submitted to the Faculty of the College of Arts and Sciences of the American University in partial Fulfillment of the Requirements for the Degree of Master of Arts Literature Signature of Committee Chairman ! tLêj/Ls ùùajiôt Dean of the College 1977 The American University Washington, D.C, 20016 THE AUERICAH ULlvEùoIïY LI2R;JIY f 3iT/ It did not matter who they were. No sound. No furtive light came from their Involute Abode, but there they were, aloof and mute. Playing a game or worlds, promoting pawns To ivory unicorns and ebon fauns t Kindling a long life here, extinguishing A short one there| killing a Balkan king; Causing a chunk of Ice formed on a high- Flying airplane to plummet from the sky And strike a farmer dead; hiding my keys, Glasses or pipe. Coordinating these Events and objects with remote events And vanished objects. Making omwients Of accidents and possibilities. — "Rile Fire," 11. 816-829 ii CONTENTS INTRODUCTION ................................................ 1 I CRITICAL APPROACHES.................................. 4 II THE TECHNIQUES OF CREATING UNCERTAINTY.............. 9 Kinbote and His Narrative ............... 11 Shade and His Poem 21 "The Underside of the Weave"— the Author's Presence . 23 III THE USES OP UNCERTAINTY...................... ......... 31 CONCLUSION.....................................................38 LIST OF WORKS C O N S U L T E D ...................................43 ill INTRODUCTION By all means place the "how* above the "what" but do not let it be confused with the "so what." Rely on the sudden erection of your small dorsal hairs,— Vladimir Nabokovl Pale Fire, a novel by Vladimir Nabokov, raises one's dorsal hairs many times as one tracks down the Immense number of allusions and cross references it contains, for above all it is a puzzle that asks the reader to search and research, to read and re-read. But one's dorsal hairs eventually form the shape of a question mark, for most of this detective work leads the reader to dead ends of confusion and uncertainty. Indeed, the previous criticism of this conundrum, which we shall examine briefly in the next section, presents a variety of mutually exclusive solutions, each claiming to be the Ultimate Truth about the novel. Bale Fire takes a standard, reliable form of literature— the poem and scholarly emendation— and pushes it to Its parodie limit. We see Charles Kinbote usurp John Shade's poem by adding variants and twisting its content into a wild story of Zembla, We also slowly realize that Pale Fire the novel, as opposed to "Pale Fire" the poem (this distinction will be made throughout by the use of underscoring to mean the novel and quotation marks to mean the poem In the novel), tells ^ "An Interview with Vladimir Nabokov," cond. Alfred Appel, Jr., Wisconsin Studies in Contemporary Literature, 8 (I967), rpt, in Strong Opinions (New York; McGraw-Hill, 1973)* P* 66, four stories— that of Shade the poet and his creation of the poem, that of Kinbote the commentator and his life in New Wye, that of Charles the Beloved, exiled King of Zembla, and that of Jakob Gradua, regicide. Our problem is how to relate these four stories to each other and gain an overall understanding of the novel. An extra twist is the fact that our guide for eighty-seven percent of the novel, Charles Kinbote, is Insane. The reader can spend as much or as little time as he wishes trying to find some key to Bale Fire; the result is the same. Some elements of the story are obvious, some are discerned through careful reading, and some are discerned by tracking down allusions. But the elements never completely resolve themselves; uncertainties persist. Frustrated, the reader may either give up or begin examining the form of the novel, looking behind the plot for clues. Since Kinbote is untrustworthy, the reader searches for a trustworthy author behind him and finds, finally, a trace of one in the great variety of irony embedded in Kinbote*s narration. This author is silent, but the reader at least knows he is there, guiding the fiction in some unknow­ able direction. Prom this point the reader returns to the fiction and finds that the author has been there all along, carefully blocking all "ultimate solutions," "playing a game of worlds," as the poet John 2 Shade says. And then comes the final realization; we, the readers, have been playing the same game that John Shade plays, trying to find 2 Vladimir Nabokov, Bale Fire (New York; Berkeley Medallion, 1962), p, 45, All further references will be parenthetical, citing page numbers in this edition first (as it, the same as the lancer edition, is the only edition available today), followed by a slash and the page number of the first edition (New York; Putnam's, 1962), evidence of a sensible creator in this illogical fictional world, and we have come to the same result, for we have found that, although we cannot understand the creator of this "wonderful nonsense," we can at least discern that he exists. We shall examine the sources of confusion burled in the novel and demonstrate the way in which they reduce the search for an Ultimate Truth to a sense of uncertainty that keeps the reader from deriving meaning. We shall examine the purposes of this uncertainty within the novel, and, finally, we shall explain how this concept relates to the rest of Nabokov's canon. CHAPTER ONE CRITICAL APPROACHES It is not easy to describe lucidly In short notes to a poem the various approaches to a fortified castle.— Charles Kinbote A substantial amount of criticism has been devoted to Bale Fire. For the most part, this criticism has been aimed at coming to an understanding of what is "going on" in the novel; that is, it has been directed at theme or meaning rather than form or stylistics. The most intriguing aspect of this body of criticism is its diversity of opinion about what the "facts" of the story world are, Nina Berberova offers the best explanation of this phenomenon* There is In Rile Fire a structural surprise* the symbolic level, the fantastic, the poetic, lies on its surface and is obvious, while the factual, the realistic is only slightly hinted at, and may be approached as a riddle. The realistic level is hidden by the symbolic one which has nothing enigmatic in it and is immediately clear to the re^er. To know the real facts is another story and a tricky one. The problem is that of relating Kinbote*s foreword, commentary, and index to Shade's poem. Four dramatically different solutions are suggested by four of Nabokov's prominent critics, Rge Stegner, whose Escape into Aestheticsi The Art of Vladimir Nabokov appeared in 1966, argues that Nabokov's fiction , . , seems to concern itself consistently ^ "The Mechanics of Pale Fire," in Nabokov* Gritlclam, Reminis­ cences, Translations, and Tributes, ed. Alfred Appel, Jr., and Charles E. Newman (Svimstoni Northwestern Univ. Press, 1970), pp. 14-7-48. with two major problems* the way in which certain horrors of physical reality and finite consciousness can be escaped, and the discovery of a direction or design in the haphazard events of human life.^ Stegner believes that both of these problems are addressed In Bale Fire; the escape is performed by Kinbote, the discovery of a design by Shade.
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