At this point commonsense sneaks back and says in a hoarse whisper that whether I like it or not, one planet plus another does form two planets, and a hundred dollars is more than fifty. If I retort that the other planet may just as well turn out to be a double one for all we know, or that a thing called inflation has been known to make a hundred less than ten in the course of one night, commonsense will accuse me of substituting the concrete for the abstract. But this again is one of the essential phenomena in the kind of world I am inviting you to inspect.
This world I said was good—and "goodness" is something that is irrationally concrete. From the commonsensical point of view the "goodness," say, of some food is just as abstract as its "badness," both being qualities that cannot be perceived by the sane judgment as tangible and complete objects. But when we perform that necessary mental twist which is like learning to swim or to make a ball break, we realize that "goodness" is something round and creamy, and beautifully flushed, something in a clean apron with warm bare arms that have nursed and comforted us, something in a word just as real as the bread or the fruit to which the advertisement alludes; and the best advertisements are composed by sly people who know how to touch off the rockets of individual imaginations, which knowledge is the commonsense of trade using the instruments of irrational perception for its own perfectly rational ends.
Now "badness" is a stranger to our inner world; it eludes our grasp; "badness" is in fact the lack of something rather than a noxious presence; and thus being abstract and bodiless it occupies no real space in our inner world. Criminals are usually people lacking imagination, for its development even on the poor lines of commonsense would have prevented them from doing evil by disclosing to their mental eye a woodcut depicting handcuffs; and creative imagination in its turn would have led them to seek an outlet in fiction and make the characters in their books do more thoroughly what they might themselves have bungled in real life. Lacking real imagination, they content themselves with such half-witted banalities as seeing themselves gloriously driving into Los Angeles in that swell stolen car with that swell golden girl who had helped to butcher its owner. True, this may become art when the writer's pen connects the necessary currents, but, in itself, crime is the very triumph of triteness, and the more successful it is, the more idiotic it looks. I never could admit that a writer's job was to improve the morals of his country, and point out lofty ideals from the tremendous height of a soapbox, and administer first aid by dashing off second-rate books. The writer's pulpit is dangerously close to the pulp romance, and what reviewers call a strong novel is generally a precarious heap of platitudes or a sand castle on a populated beach, and there are few things sadder than to see its muddy moat dissolve when the holiday makers are gone and the cold mousy waves are nibbling at the solitary sands.
There is, however, one improvement that quite unwittingly a real writer does bring to the world around him. Things that commonsense would dismiss as pointless trifles or grotesque exaggerations in an irrelevant direction are used by the creative mind in such a fashion as to make iniquity absurd. The turning of the villain into a buffoon is not a set purpose with your authentic writer: crime is a sorry farce no matter whether the stressing of this may help the community or not; it generally does, but that is not the author's direct purpose or duty. The twinkle in the author's eye as he notes the imbecile drooping of a murderer's underlip, or watches the stumpy forefinger of a professional tyrant exploring a profitable nostril in the solitude of his sumptuous bedroom, this twinkle is what punishes your man more surely than the pistol of a tiptoeing conspirator. And inversely, there is nothing dictators hate so much as that unassailable, eternally elusive, eternally provoking gleam. One of the main reasons why the very gallant Russian poet Gumilev was put to death by Lenin's ruffians thirty odd years ago was that during the whole ordeal, in the prosecutor's dim office, in the torture house, in the winding corridors that led to the truck, in the truck that took him to the place of execution, and at that place itself, full of the shuffling feet of the clumsy and gloomy shooting squad, the poet kept smiling.
That human life is but a first installment of the serial soul and that one's individual secret is not lost in the process of earthly dissolution, becomes something more than an optimistic conjecture, and even more than a matter of religious faith, when we remember that only commonsense rules immortality out. A creative writer, creative in the particular sense I am attempting to convey, cannot help feeling that in his rejecting the world of the matter-of-fact, in his taking sides with the irrational, the illogical, the inexplicable, and the fundamentally good, he is performing something similar in a rudimentary way to what [two pages missing] under the cloudy skies of gray Venus.
Commonsense will interrupt me at this point to remark that a further intensification of such fancies may lead to stark madness. But this is only true when the morbid exaggeration of such fancies is not linked up with a creative artist's cool and deliberate work. A madman is reluctant to look at himself in a mirror because the face he sees is not his own: his personality is beheaded; that of the artist is increased. Madness is but a diseased bit of commonsense, whereas genius is the greatest sanity of the spirit—and the criminologist Lombroso when attempting to find their affinities got into a bad muddle by not realizing the anatomic differences between obsession and inspiration, between a bat and a bird, a dead twig and a twiglike insect. Lunatics are lunatics just because they have thoroughly and recklessly dismembered a familiar world but have not the power—or have lost the power—to create a new one as harmonious as the old. The artist on the other hand disconnects what he chooses and while doing so he is aware that something in him is aware of the final result. When he examines his completed masterpiece he perceives that whatever unconscious cerebration had been involved in the creative plunge, this final result is the outcome of a definite plan which had been contained in the initial shock, as the future development of a live creature is said to be contained in the genes of its germ cell.
The passage from the dissociative stage to the associative one is thus marked by a kind of spiritual thrill which in English is very loosely termed inspiration. A passerby whistles a tune at the exact moment that you notice the reflection of a branch in a puddle which in its turn, and simultaneously, recalls a combination of damp green leaves and excited birds in some old garden, and the old friend, long dead, suddenly steps out of the past, smiling and closing his dripping umbrella. The whole thing lasts one radiant second and the motion of impressions and images is so swift that you cannot check the exact laws which attend their recognition, formation, and fusion—why this pool and not any pool, why this sound and not another—and how exactly are all those parts correlated; it is like a jigsaw puzzle that instantly comes together in your brain with the brain itself unable to observe how and why the pieces fit, and you experience a shuddering sensation of wild magic, of some inner resurrection, as if a dead man were revived by a sparkling drug which has been rapidly mixed in your presence. This feeling is at the base of what is called inspiration—a state of affairs that commonsense must condemn. For commonsense will point out that life on earth, from the barnacle to the goose, and from the humblest worm to the loveliest woman, arose from a colloidal carbonaceous slime activated by ferments while the earth was obligingly cooling down. Blood may well be the Silurian sea in our veins, and we are all ready to accept evolution at least as a modal formula. Professor Pavlov's bell-hopping mice and Dr. Griffith's rotating rats may please the practical minds, and Rhumbler's artificial amoeba can make a very cute pet. But again it is one . thing to try and find the links and steps of life, and it is quite another to try and understand what life and the phenomenon of inspiration really are.
In the example I chose—tune, leaves, rain—a comparatively simple form of thrill is implied. Many people who are not necessarily writers are familiar with such experiences; others simply do not bother to note them. In my example memory played an essential though unconscious part and everythi
ng depended upon the perfect fusion of the past and the present. The inspiration of genius adds a third ingredient: it is the past and the present and the future (your book) that come together in a sudden flash; thus the entire circle of time is perceived, which is another way of saying that time ceases to exist. It is a combined sensation of having the whole universe entering you and of yourself wholly dissolving in the universe surrounding you. It is the prison wall of the ego suddenly crumbling away with the nonego rushing in from the outside to save the prisoner—who is already dancing in the open.
The Russian language which otherwise is comparatively poor in abstract terms, supplies definitions for two types of inspiration, vostorg and vdokhnovenie, which can be paraphrased as "rapture" and "recapture." The difference between them is mainly of a climatic kind, the first being hot and brief, the second cool and sustained. The kind alluded to up to now is the pure flame of vostorg, initial rapture, which has no conscious purpose in view but which is all-important in linking the breaking up of the old world with the building up of the new one. When the time is ripe and the writer settles down to the actual composing of his book, he will rely on the second serene and steady kind of inspiration, vdokhnovenie, the trusted mate who helps to recapture and reconstruct the world.
The force and originality involved in the primary spasm of inspiration is directly proportional to the worth of the book the author will write. At the bottom of the scale a very mild kind of thrill can be experienced by a minor writer noticing, say, the inner connection between a smoking factory chimney, a stunted lilac bush in the yard, and a pale-faced child; but the combination is so simple, the threefold symbol so obvious, the bridge between the images so well-worn by the feet of literary pilgrims and by cartloads of standard ideas, and the world deduced so very like the average one, that the work of fiction set into motion will be necessarily of modest worth. On the other hand, I would not like to suggest that the initial urge with great writing is always the product of something seen or heard or smelt or tasted or touched during a long-haired art-for-artist's aimless rambles. Although to develop in one's self the art of forming sudden harmonious patterns out of widely separate threads is never to be despised, and although, as in Marcel Proust's case, the actual idea of a novel may spring from such actual sensations as the melting of a biscuit on the tongue or the roughness of a pavement underfoot, it would be rash to conclude that the creation of all novels ought to be based on a kind of glorified physical experience. The initial urge may disclose as many aspects as there are temperaments and talents; it may be the accumulated series of several practically unconscious shocks or it may be an inspired combination of several abstract ideas without a definite physical background. But in one way or another the process may still be reduced to the most natural form of creative thrill—a sudden live image constructed in a flash out of dissimilar units which are apprehended all at once in a stellar explosion of the mind.
When the writer settles down to his reconstructive work, creative experience tells him what to avoid at certain moments of blindness which overcome now and then even the greatest, when the warty fat goblins of convention or the slick imps called "gap-fillers" attempt to crawl up the legs of his desk. Fiery vostorg has accomplished his task and cool vdokhnovenie puts on her glasses. The pages are still blank, but there is a miraculous feeling of the words all being there, written in invisible ink and clamoring to become visible. You might if you choose develop any part of the picture, for the idea of sequence does not really exist as far as the author is concerned. Sequence arises only because words have to be written one after the other on consecutive pages, just as the reader's mind must have time to go through the book, at least the first time he reads it. Time and sequence cannot exist in the author's mind because no time element and no space element had ruled the initial vision. If the mind were constructed on optional lines and if a book could be read in the same way as a painting is taken in by the eye, that is without the bother of working from left to right and without the absurdity of beginnings and ends, this would be the ideal way of appreciating a novel, for thus the author saw it at the moment of its conception.
So now he is ready to write it. He is fully equipped. His fountain pen is comfortably full, the house is quiet, the tobacco and the matches are together, the night is young.... and we shall leave him in this pleasurable situation and gently steal out, and close the door, and firmly push out of the house, as we go, the monster of grim commonsense that is lumbering up the steps to whine that the book is not for the general public, that the book will never, never —— And right then, just before it blurts out the word s, e, double-l, false commonsense must be shot dead.
L'Envoi
To some of you it may seem that under the present highly irritating world conditions it rather is a waste of energy to study literature, and especially to study structure and style. I suggest that to a certain type of temperament—and we all have different temperaments—the study of style may always seem a waste of energy under any circumstances. But apart from this it seems to me that in every mind, be it inclined towards the artistic or the practical, there is always a receptive cell for things that transcend the awful troubles of everyday life.
The novels we have imbibed will not teach you anything that you can apply to any obvious problems of life. They will not help in the business office or in the army camp or in the kitchen or in the nursery. In fact, the knowledge I have been trying to share with you is pure luxury. It will not help you to understand the social economy of France or the secrets of a woman's heart or of a young man's heart. But it may help you, if you have followed my instructions, to feel the pure satisfaction which an inspired and precise work of art gives; and this sense of satisfaction in its turn goes to build up a sense of more genuine mental comfort, the kind of comfort one feels when one realizes that for all its blunders and boners the inner texture of life is also a matter of inspiration and precision.
In this course I have tried to reveal the mechanism of those wonderful toys—literary masterpieces. I have tried to make of you good readers who read books not for the infantile purpose of identifying oneself with the characters, and not for the adolescent purpose of learning to live, and not for the academic purpose of indulging in generalizations. I have tried to teach you to read books for the sake of their form, their visions, their art. I have tried to teach you to feel a shiver of artistic satisfaction, to share not the emotions of the people in the book but the emotions of its author—the joys and difficulties of creation. We did not talk around books, about books; we went to the center of this or that masterpiece, to the live heart of the matter.
Now the course comes to a close. The work with this group has been a particularly pleasant association between the fountain of my voice and a garden of ears—some open, others closed, many very receptive, a few merely ornamental, but all of them human and divine. Some of you will go on reading great books, others will stop reading great books after graduation; and if a person thinks he cannot evolve the capacity of pleasure in reading the great artists, then he should not read them at all. After all, there are other thrills in other domains: the thrill of pure science is just as pleasurable as the pleasure of pure art. The main thing is to experience that tingle in any department of thought or emotion. We are liable to miss the best of life if we do not know how to tingle, if we do not learn to hoist ourselves just a little higher than we generally are in order to sample the rarest and ripest fruit of art which human thought has to offer.
Appendix
The following are sample questions from Nabokov's exams on Bleak House and Madame Bovary.
BLEAK HOUSE
1. Why did Dickens need to give Esther three suitors (Guppy, Jarndyce, and Woodcourt)?
2. If you compare Lady Dedlock and Skimpole, which of them is the author's greater success?
3. Discuss the structure and style of Bleak House.
4. Discuss John Jarndyce's house. (Mangles? Surprised birds?)
5. Discuss th
e visit to Bell Yard (Neckett's children; and Mr. Gridley).
6. Give at least four examples of the "child theme" in Bleak House.
7. Is the personality of Skimpole also representative of the "child theme"?
8. What kind of place was Bleak House—give at least four descriptive details.
9. Where was Bleak House situated?
10. Give at least four examples of Dickensian imagery (comparisons, vivid epithets, and the like).
11. How is the "bird theme" linked up with Krook?
12. How is the "fog theme" linked up with Krook?
13. Whose style are we reminded of when Dickens raises his voice?
14. What is the story of Esther's beauty in the course of the novel?
15. Give the structural scheme of Bleak House in terms of its main thematic centers and their interconnecting lines.
16. What emotions did Dickens expect the reader (minor or major,gentle or critical) to derive from Bleak House?
17. One aspect of Dickens' approach is individualization of characters through their manner and mannerisms of speech: select three characters in Bleak House and describe their idioms.
Lectures on Literature Page 47
