納博科夫小說《國王、皇后、傑克》中的果戈理元素

Abstract

文學作品的字裡行間，是否潛藏對其他作品的記憶？這個問題自二十世紀初開始受到文學理論界的注意。俄國形式主義文論家提尼亞諾夫（Ю. Тынянов）認為諧擬（пародия）是作家引用文學前輩的主要手法；後現代主義文論家則以互文性（интертекстуальность）詮釋文本與文本間存在的關聯性。在《俄國文學講稿》中，納博科夫評價果戈理（Н. Гоголь, 1809-1852）為「俄羅斯最不凡的詩人與散文家」，於此同時他又說：「無計可施的俄國評論家幾次把我和果戈理綁在一起，試圖尋找後者對我的影響，好將我的小說擺上合適的書架。」試圖強調自己作品的獨創性。然而，事實真否如此？果戈理的創作擅長細節描寫，常以放大鏡觀察人物身旁的物品，特殊的敘事口吻使作家更像一位操偶人，掌控手中的傀儡戲偶，藉此展現自己的中心思想。本文作者認為，納博科夫無論在小說主題的選擇、人物形象的塑造，及各種手法的運用上，都表現獨特的美學效果。然而，在其精巧的手法下，讀者仍可感受無處不在的果戈理式諷刺口吻。本文以納博科夫第二本俄文小說《國王、皇后、傑克》（Король, дама, валет）為研究對象，從物品詩學、傀儡主題、作者＝操偶人等層面著手，分析作家對庸俗虛假的批判，進而論證果戈理元素在納博科夫作品中的呈現。

In Lectures on Russian Literature, V. Nabokov mentioned that: “…despaired Russian critics tried to define Gogol’s influence on me in order to put my novels on the appropriate bookcase”. The writer attempted to emphasis the uniqueness of his creations. However, did his works really insulate from the classics?N. Gogol was excellent in detail description, and his narrators’ special tone reminded us of the puppet-handler. Notwithstanding V. Nabokov had unique style of selecting themes of works, depicting characters and manipulating artistic technique, it was evident that readers would become conscious of Gogol’s satiric tone of expression in Nabokov’s works.Russian formalist Yu. Tynianov claimed that the “parody” is the common technique used by writers to cite predecessors’ works. Moreover, postmodern critics used the term “intertextuality” to interpret the correlation between texts.By the foregoing approach this paper is going to analyze V. Nabokov’s artistic technique, which is represented in three aspects: the detail description, the “puppet” theme and the critic on “poshlost”, and furthermore to find out Gogolian reminiscences in V. Nabokov’s second novel Korol, dama, valet.