Content-Type: message/rfc822 Date: Sun, 15 Oct 2006 10:02:00 -0400 From: "jansymello" To: Subject: More corrections.... is there a chance for using them, BETH!!!!!!??? ( I also included today's PS in this corrected version) Mime-Version: 1.0 Content-Type: multipart/mixed; boundary="=__Part684C1248.1__=" --=__Part684C1248.1__= Content-Type: multipart/alternative; boundary="=__Part684C1248.2__=" --=__Part684C1248.2__= Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Anamorphosis, anamorphism, Turkish Delight Dear List, =20 After following the hints of Sergei and A.Bouazza I picked up my poor = yellowed and brittle Penguin edition, where I found Cincinnatus's mother, = Cecilia C. and her story about the "nonnon" on chapter 12, page 115. (What = a strange lady, one who is reminded of the maternity ward after entering = her condemned son's cell in the "cradle/tomb" tradition!)=20 Browsing through one of my least favorite novel on transparencies I came = to the description of several optical devices: snapshots, a pre-computer-a= ge "photohoroscope" and the "Quercus" book, alongside the anamorphic = "nonnon".=20 This "no,no" instrument that reached me through C's mother made me hear = his name, in Portuguese, in a curious way. For us "yes,yes" becomes = "sim,sim"! Just like "Cincinnatus" who now becomes "born to yes,yes" ... ( = a coincidence, I'm sure).=20 Actually anamorphic objects are not always the result of crooked (convex = or concave) mirrors and distorted figures. Unfortunately I left my weighty = volume on Anamorphosis, written by Baltruysatis, at my office ( & I must = have his name incorrectly spelled since I was unable to Google him). By = the way, Anamorphosis ( VN's nonnon ) should not be confused with = Anamorphism ( the process of "evolution of one type of organism from = another by a long series of gradual changes", i.e: anamorphism as a = "versipel" in JF's acception). =20 A sentence, at random, called my attention ( page 147): "Rodrig Ivanovich = was sitting in the easy chair...would jerk his flabby cheeks and his chin, = powdered like a Turkish delight, as if freeing them from some viscous and = absorbing element". VN often writes about this kind of Turkish delicacy ( who doesn't remember = C.S.Lewis' Queen, offering Turkish Delight in C.S. Lewis' "The Lion, The = Witch And The Wardrobe"?) and I found one sample in "Ada":=20 "In later years he had never been able to reread Proust (as he had never = been able to enjoy again the perfumed gum of Turkish paste) without a = roll-wave of surfeit ...yet his favorite purple passage remained the one = concerning the name 'Guermantes,' with whose hue his adjacent ultramarine = merged in the prism of his mind..." What impelled me to write about "Turkish delight" is a question mainly = directed to VN translators.=20 In one of the Spanish translation of Shade's "Pale Fire" they speak of = "Las delicias del Turco" ( a literal rendering of Shade's words) and I = wondered if the reader would grasp a reference to this sweet in the poem. = Then it occurred to me that Shade might not have referred to it, but to = something quite distinct ( but the name Proust, suggesting a "Turkish-madel= eine" appears rather close to it, so I'm inclined to believe the reference = is to the lavender-hued paste...)=20 The Brazilian translation is even more distanced from the pasty delicacy.Th= e words chosen by Jorio Dauster and Sergio Duarte were " Para=EDso do = Isl=E3" ( a moslem paradise!) and actually they fit in well with the word = they chose for "hereafter", i.e: "al=E9m" ( the "beyond" where it clearly = already suggests paradise ) Lines 221-224: "So why join in the vulgar laughter? Why Scorn a hereafter none can verify: The Turk's delight, the future lyres, the talks With Socrates and Proust in cypress walks,..." Ada's hand adds a comment at this point, interrogating the choice of "hue" = and inviting Van to rephrase it.. Should I believe that Shade expects to come across Turk's delights in = Paradise? ( but certainly not the same as the ones offered by C.S.Lewis' = evil Queen, or some "domestic ghost"...) Or the term has no relation to = the sweet? =20 Jansy PS: One of PF Brazilian translators (Jorio Dauster) just told me that = also the French translation he checked used "les d=E9lices du Turc" ( for = Shade's lines). As translated, so distant from the CS Lewis' Queen seduction using = "Turkish delight", I felt a discomfort similar to the what I felt watching = a cinematic rendering of Turkish prisons (Alan Parker in "Midnight = Express") or in certain landscapes described by Lawrence Durrell. = Fictional or real, there is no delight in them, except by anamorphing = everything... Jansy =20 Search the archive: http://listserv.ucsb.edu/archives/nabokv-l.html 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 Search the archive: http://listserv.ucsb.edu/archives/nabokv-l.html 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 --=__Part684C1248.2__= Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Description: HTML

Anamor= phosis,=20 anamorphism, Turkish Delight

 

De= ar=20 List,

&n= bsp;

After following the hints of = Sergei and=20 A.Bouazza  I picked up my poor yellowed and brittle = Penguin=20 edition, where I found Cincinnatus's mother, Cecilia C. and her story = about the=20 "nonnon" on chapter 12, page 115. (What a strange lady, one who is reminded of the = maternity ward=20 after entering her  condemned son's cell in the "cradle/tomb= "=20 tradition!) 
Browsing through one of = my least=20 favorite novel on transparencies I came to the description= =20 of several optical devices:  snapshots, a pre-computer-age=20 "photohoroscope" and the "Quercus" book, alongside the=20 anamorphic "nonnon".
This "no,no" instrument that = reached=20 me through C's mother made me hear his name, in Portuguese, in a = curious=20 way. For us "yes,yes" becomes "sim,sim"! Just like "Cincinnatus" = who=20 now becomes "born to yes,yes" ... ( a coincidence, I'm=20 sure). 
 
Actually anamorphic objects = are not=20 always the result of crooked (convex or concave) mirrors and distorted = figures.=20 Unfortunately I left my weighty volume on Anamorphosis, written by = Baltruysatis,=20 at my office ( & I must have his name incorrectly spelled = since=20 I was unable to Google him).  By the way, Anamorphosis ( = VN's=20 nonnon ) should not be confused with Anamorphism ( the process=20 of "evolution of one type of organism from another by a long series = of=20 gradual changes", i.e: anamorphism as a "versipel" in JF's=20 acception).
 
A sentence, at random, called = my=20 attention ( page 147): "Rodrig Ivanovich was sitting in the easy=20 chair...would jerk his flabby cheeks and his chin, powdered like a = Turkish=20 delight, as if freeing them from some viscous and absorbing=20 element".
 
VN often writes about this = kind of=20 Turkish delicacy ( who doesn't remember C.S.Lewis'  Queen, offering = Turkish Delight in C.S. Lewis' = "The Lion,=20 The Witch And The Wardrobe"?) and I found one sample in = "Ada":=20
"In later = years=20 he had never been able to reread Proust (as he had never been able to = enjoy=20 again the perfumed gum of Turkish paste) without a roll-wave of surfeit = ...yet=20 his favorite purple passage remained the one concerning the name =91Guerman= tes,=92=20 with whose hue his adjacent ultramarine merged in the prism of his=20 mind..."
 
What impelled me to write about = "Turkish=20 delight" is a question mainly directed to VN translators.=20
In one=20 of the Spanish translation of Shade's "Pale Fire" t= hey=20 speak of  "Las delicias del Turco" ( a literal rendering of Shade's=20= words) and I wondered if the reader would grasp a reference = to=20 this sweet in the poem. Then it occurred to me that Shade might not = have=20 referred to it, but to something quite distinct ( but the name Proust,=20 suggesting a "Turkish-madeleine" appears rather close to it, = so I'm=20 inclined to believe the reference is to=20 the lavender-hued paste...) 
 
The Brazilian translatio= n is even=20 more distanced from the pasty delicacy.The words chosen by Jorio Dauster = and=20 Sergio Duarte were " Para=EDso do Isl=E3" ( a moslem paradise!) = and=20 actually they fit in well with the word they chose for "hereafter",=20= i.e: "al=E9m" ( the "beyond" where it clearly already suggests = paradise=20 )
 
Lines 221-224: "So why join = in the=20 vulgar laughter? Why
Scorn a hereafter none can verify:
The = Turk's=20 delight, the future lyres, the talks
With Socrates and Proust in = cypress=20 walks,..."
 
Ada's hand adds a comment at = this=20 point, interrogating the choice of "hue" and inviting Van to = rephrase=20 it..
Should I believe that Sha= de=20 expects to come across Turk's delights in Paradise? ( but certainly = not the=20 same as the ones offered by C.S.Lewis' evil Queen, or some = "domestic=20 ghost"...) Or the term has no relation to the sweet?  =20
Jansy
 
PS:  One of PF Brazilian translators = (Jorio=20 Dauster) just told me that also the French translation he = checked=20 used "les d=E9lices du Turc" ( for=20 Shade's lines).
As translated, so distant from the CS=20 Lewis' Queen seduction using "Turkish delight", I felt a = discomfort=20 similar to the what I felt watching a cinematic rendering  of = Turkish=20 prisons (Alan Parker in "Midnight Express") or in certain = landscapes=20 described by Lawrence Durrell.  Fictional or real, there is no = delight in=20 them, except by anamorphing everything...
Jansy

 

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