Reviewed by: Vladimir Nabokov and the Art of Moral Actsby Dana Dragunoiu Michael Rodgers Dragunoiu, Dana. Vladimir Nabokov and the Art of Moral Acts. Studies in Russian Literature and Theory. Northwestern University Press, Evanston, IL, 2021. xxi + 264 pp. Notes. Bibliography. Index. $120.00; £39.95; £39.95 (e-book). C riticshave long now positioned Vladimir Nabokov's writing at the intersection between ethics and aesthetics, however Dana Dragunoiu's Vladimir Nabokov and the Art of Moral Actsnot only articulates how the artistic and moral aspects contained within his work can be seen as transcendental in nature, but also privileges the 'duel' aspect of this ostensible duality. Her monograph opens with a Kantian prologue foregrounding the altruistic, philanthropic, nobleaspect of the 'moral worth of an action' in that 'it does not lie in the effect expected from it' (p. 3) — something curious considering Nabokov's expectations of 'good readers' in his quiz contained within Lectures on Literature(New York, 1980). Yet the Middle English etymology of 'courteous' as 'having manners fit for a royal court' seems apt not just because of Nabokov's aristocratic upbringing, but also because of his commitment to those qualities expected of a (Sebastian) knight: courage, honour, courtesy, justice, and a readiness to help the weak ( OED, p. 249). Dragunoiu's Vladimir Nabokov and the Art of Moral Acts, following on from her Vladimir Nabokov and the Poetics of Liberalism(Evanston, IL, 2011), comprises six superbly-researched chapters — exploring Nabokov's intertextual connections with the work of Pushkin, Shakespeare, Tolstoi and Proust — and an epilogue. We enter the above discussions through the 'heuristic' lens of Erwin Panofsky's retelling of Kant's commitment to Humanitätwhile on his deathbed, something Dragunoiu subsequently relates to Nabokov's work in terms of 'courtesy [replacing] the tyranny of nature with a freely chosen tyranny of duty' (p. 5). She goes on to trace the Russian Silver Age's indebtedness to Kant's foregrounding of rational, autonomous individuals with the right to self-determination, and how Russia's liberal elite used such thought in their 'struggle against tsarist autocracy' (p. 7). Chapter one, for example, examines four episodes which demonstrate Nabokov's 'preoccupation with the quiet heroism of upholding standards of civility' (p. 20), while making the claim [End Page 159]that Nabokovian courtesy, linked to his preoccupation with deception, is akin to 'performance art' (p. 22). It does so via some particularly astute close reading of the Mademoiselle section in Speak, Memory(London, 1967, p. 28) and Krug's salvation at the cost of his autonomy in Bend Sinister(London, 1947, p. 32). Chapters two and three foreground the chivalric aspect of Dragunoiu's argument, where she claims that 'dueling enabled Nabokov to make a deductive move he found appealing: if, as Nabokov clearly believes, dueling transcends the logic of utilitarianism, fighting in a duel affords the honorable man the opportunity to perform his independence from utilitarian concerns' (pp. 85–86). The focus on transcendence continues in chapter five, 'The Art of Lying: Nabokov, Tolstoy, Botkin', by exploring the similarities and differences between Cincinnatus's world and Kinbote's Zembla, and includes Dragunoiu's assertion that 'whereas discourteous deceptions are morally wrong because they degrade and imprison, courteous deceptions are morally admirable because they uplift and liberate' (p. 129). Chapter six, historicizing Lolitaand Pninin relation to them having been written in the years following the Holocaust, makes the argument that there are limits to courtesy and art (evidenced by Pnin's difficulty in remembering Mira Belochkin and Lolita's readers being 'encouraged to extend their readerly courtesy to a rapist who makes art out of pain', p. 159). Interestingly, this idea of limitation brings us back to the tactile connotations of chapter one's vocabulary — more specifically, the idea of being pressed or 'bound' by duty (p. 18) in order to express analogous feelings of mental obligation or burden. Indeed, as much as the transcendental aspect of courtesy may allow for significant escape from the confines of the corporeal, we are frequently reminded of its physical, emotional and linguistic constraints. There are a few niggles here and there, however. Dragunoiu's insistence...
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