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So, now, here's just a list for you: eight features of literary modernism that are all important to Nabokov.
现在我给大家一张列表,上面列举了八项对纳博科夫非常重要的文学现代主义的特征。
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Now I want to contrast that with what we see from Nabokov in this essay, Good Readers and Good Writers.
现在我要把这和《好读者和好作者》这篇文章中,纳博科夫的观点做下比较。
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So, where is Nabokov in here? I think that's one of the places where Nabokov is. It's Nabokov meditating on this problem.
那么，在这一段中纳博科夫在哪里呢？我，认为这是他所,存在的一个地方，纳博科夫正在沉思这个问题。
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And Nabokov says: The students leaned heavily on emotional identification, action, and the social, economic and historical angle.
纳博科夫说：学生严重倾向于：,情感上的共鸣、动作、,社会、经济和历史角度。
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So, this is Nabokov's beautiful evocation of how writer and reader meet at the summit of this misty mountain of the imagination.
那么，这就是纳博科夫的美好呼唤，是关于读者和作者,如何在想像的巅峰相遇。
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So, there are multiple ways, at multiple levels, that Nabokov is defending his work in this afterword. For one thing, he insults the publishers.
因此，在这篇后记中，纳博科夫在多种不同层面上,为他的作品辩护，一方面，他侮辱他的出版商。
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There is that physical comedy, and I'll suggest to you that in that sentence, the pushing and pulling, you're seeing part of Nabokov's verbal play.
有着强烈的肢体喜剧色彩，我认为在这句话中，反复出现的推和拉，想你展示了纳博科夫的文字游戏。
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On the other hand, the critic Michael Wood has pointed out that Nabokov didn't lose Russian. He didn't lose it on the way while he was riding the boat; he decided to stop writing in it.
另一方面，批评家，迈克尔·伍德指出,纳博科夫没有完全失去俄语，当他划船的时候,他意识到这点，他决定停止写作。
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The language that the Beats tried to imagine, tried to write, takes up some of these problems that we saw in Nabokov.
垮掉的一代试图想象和写出的语言，同样是是我们在纳博科夫的书里所看到的问题。
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But, Nabokov's relationship to this modernist past is not just the burlesque that he visits on Eliot, is not just this complicated attraction and dis-identification that he works on with Proust.
但是，纳博科夫和现代主义者的关系不只是,他对艾略特的滑稽模仿，也不只是和普鲁斯特,复杂的吸引和不认同。
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Today, I'm going to pick up on some of those other scenes that he mentions as his secret points of delight in the novel.
今天，我将与你们分享一些,有关纳博科夫提及的其它令他愉悦的,小说里的神秘场景。
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So Nabokov imbues that state of impersonality with certain kinds of emotion and then asks the reader to be as impersonal as that modernist artist also must be.
所以纳博科夫用某些特定的情感,来营造非个人化的境界,让读者像现代主义艺术家那样非个人化。
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Now, I want to look at page 231, 232. This is one of those passages that Nabokov points out as being special to him. This is Lolita playing tennis.
现在让我们跳到231，232页，这是纳博科夫提到的,对于他有特殊意义的一段，它描述了洛丽塔打网球的场景。
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He says these are the scenes, and I want you to keep those scenes in mind.
纳博科夫说这就是他心中的场景，我希望你们记住它们。
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Nabokov cannot meet his reader on the misty mountain ; because somebody has to agree to publish this book first; it has to exist in the world before that reader can meet it.
然而纳博科夫却不能在这座巅峰上与他的读者相遇,因为在那之前必须有人先同意出版那本书;,在读者遇到那座山峰之前，它必须首先存在。
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Inutile loveliness" is kind of the key word of Nabokov's technique, and he says the novel has as its only purpose to provide aesthetic bliss. So, here is inutile loveliness coming just from seeing the landscape as a stranger.
无用的可爱“是纳博科夫技巧的一个,关键词，他说小说只有一个目的，那就是提供,美学狂喜，所以这里的“无用的可爱“,是把风景当做一个陌生人看待。
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So, this is the other form that the aesthetic can take. And I think that Nabokov is consistently concerned about these two valences of what the aesthetic can look like.
那么这就是那种审美观念的,另一种形式，我认为纳博科夫一直十分关注这两种审美的,可能形式十分关注。
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So, anyway. Okay. But now, that modernist tradition is something that Nabokov owes a lot to, but he always tries to distinguish himself from it. For Nabokov, the highest value is originality.
好吧，不管怎样，但现在，现代主义传统,很大程度得归功于纳博科夫，虽然他一直试图把自己,从中区别开来，对纳博科夫而言，最高尚的价值是独创性。
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Even Humbert will tell us so. Just a few pages later, on page 175, he talks about his journey: We had been everywhere. We had really seen nothing.
即使是纳博科夫也会这么告诉你们，只是几页之后，在175页，他谈到了这次旅行：,我们到处每一个地方，实际却一无所览。
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Here, being in exile prevents Nabokov from making that knight's move. And you might think about that homophobic attitude to a Proustian past, the fear that it's too like what he wants to do.
因为被放逐的事实，纳博科夫不能,实现迂回前进，大家可能会想到他对,普鲁斯特过去持有的恐同性恋的态度，想到他的恐惧。
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Okay. Nabokov, be gone.
好吧，过世的纳博科夫想指出一些东西。
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But actually, the thing I want to think about is a crude pun there, a "fairy" tale. Proust is himself gay. One of his big subjects is homosexuality, and Nabokov's reaction to this is really homophobic. This is not just about Nabokov's personal prejudice.
但事实上，我想说的是这里的一个粗糙的双关语，一个“童话“故事，普鲁斯特是一个同性恋，他讨论的一个,话题就是同性恋，但纳博科夫对此是相当反感的,这仅仅是因为纳博科夫的个人偏见。
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So, let's begin with another of those scenes on 213 that Nabokov points out to us, the Kasbeam barber. Why did it take him a month to come up with the Kasbeam barber? What's going on in this tiny snippet that's so important? So here it is.
那么，我们从213页纳博科夫向我们指出的另一个,场景开始：理发师加斯比姆，为什么他花了一个月的时间,来创造理发师加斯比姆的形象呢？这个小片段里,发生了什么重要的事情呢？我们来看这里：
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You might think of walking in here expecting Professor Hungerford on censorship and getting me instead. But this is a very important idea for Nabokov both as a way of treating predecessors and as a way of writing. And I want to show you that way of writing very early in the book on page 10 now. Let's take a look at that.
你们可能期待亨格福特教授走上讲台,取代我讲审查制度，但这对纳博科夫而言,是非常重要的对待前辈和写作的方法,接下来，我将向你们展示,他的写作风格，在这本书的很前面，第10页，我们一起看一下。
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