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RES: [NABOKV-L] Tobak-plus-snob anagram
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Alexey sends: 'Everybody is un peu snob,' said Lucette. 'Your Cordula, who
is also around, cannot forgive Shura Tobak, the violinist, for being her
husband's neighbor in the telephone book.' (3.3) - Tobak + snob = Nabok +
Obst = Sobak + bon mot + kvas - Moskva
.Nabok - Tartar Prince mentioned in Ada: for her sixteenth birthday Greg
Erminin gives Ada "a little camel of yellow ivory carved in Kiev, five
centuries ago, in the days of Timur and Nabok" (1.39)..
JM: Nice to see the link between Nabok and Timur (ie: Timur the Lame, or
Tamerlane). Shade's lines about tyrants roaring in hell, or the apparent
operatic understatement by Haendel in "Tamerlano," demand a similar
attention to stylistic subtleties before we can reach the full horror of
warring conquerors and their ever actual monstrosities.
Shade begins his poem as if under a sweet dreamlike trance ("The dead, the
gentle dead - who knows? - / In tungsten filaments abide,/ And on my bedside
table glows/ Another man's departed bride.") until forked lightning hits a
livid plain. This is the necessary element of "surprise"- which T.S.Eliot
considers fundamental in real poetry, when he distinguishes "emotions
considered to be poetic" and "the result of personal emotion in poetry"
(Essay on Dryden).
Yellow ivory for a yellow camel isn't anything that indicates something
yellowed by age, and here my ignorance astounds me once again: is there a
particular kind of "yellow ivory"? (I always considered ivory as a
substitute for "whiteness.")
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is also around, cannot forgive Shura Tobak, the violinist, for being her
husband's neighbor in the telephone book.' (3.3) - Tobak + snob = Nabok +
Obst = Sobak + bon mot + kvas - Moskva
.Nabok - Tartar Prince mentioned in Ada: for her sixteenth birthday Greg
Erminin gives Ada "a little camel of yellow ivory carved in Kiev, five
centuries ago, in the days of Timur and Nabok" (1.39)..
JM: Nice to see the link between Nabok and Timur (ie: Timur the Lame, or
Tamerlane). Shade's lines about tyrants roaring in hell, or the apparent
operatic understatement by Haendel in "Tamerlano," demand a similar
attention to stylistic subtleties before we can reach the full horror of
warring conquerors and their ever actual monstrosities.
Shade begins his poem as if under a sweet dreamlike trance ("The dead, the
gentle dead - who knows? - / In tungsten filaments abide,/ And on my bedside
table glows/ Another man's departed bride.") until forked lightning hits a
livid plain. This is the necessary element of "surprise"- which T.S.Eliot
considers fundamental in real poetry, when he distinguishes "emotions
considered to be poetic" and "the result of personal emotion in poetry"
(Essay on Dryden).
Yellow ivory for a yellow camel isn't anything that indicates something
yellowed by age, and here my ignorance astounds me once again: is there a
particular kind of "yellow ivory"? (I always considered ivory as a
substitute for "whiteness.")
Search archive with Google:
http://www.google.com/advanced_search?q=site:listserv.ucsb.edu&HL=en
Contact the Editors: mailto:nabokv-l@utk.edu,nabokv-l@holycross.edu
Visit Zembla: http://www.libraries.psu.edu/nabokov/zembla.htm
View Nabokv-L policies: http://web.utk.edu/~sblackwe/EDNote.htm
Visit "Nabokov Online Journal:" http://www.nabokovonline.com
Manage subscription options: http://listserv.ucsb.edu/