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• 1 2020-09-21T14:10:54-04:00 Invitation to a Beheading 212-223 20 Vladimir Nabokov plain 2020-12-12T13:50:22-05:00

  Veronica Yabloko
  
  pg. 212 – canine masks/repeated image of dogs
  In Gnostic mythology their exist two kinds of beings: inferior, demon-like creatures called demiurges and transcendent gods. While Cincinnatus spends the entire novel trying to transcend his prison world, the rest of his peers do nothing of the sort, instead patronizing him. It is no surprise, then, that leading up to his execution, all those that exist happily in this society are associated with dogs. The soldiers wear "canine masks" (212) while Pierre leans on "the bulldog head of his cane" (215). As Cincinnatus mounts the platform a "dog bark[s]" in the crowd (219). A line is drawn between Cincinnatus, who does all he can to become like these transcendent gods, and everyone else, dog-like and inferior demiurges.

  pg. 213 – borzoi
  A hunting breed of dog, also called the Russian wolfhound. These large dogs were bred to be able to chase hunting game, which their slim and muscular stature allows them to do. Borzois are seen as aristocratic, graceful, and dignified. In addition to their grace, Borzois are known to have stubborn and affectionate tendencies. 

  pg. 213 – nettle
  Nettle, also known as stinging nettle or Urtica dioica is a perennial plant that blooms in the summer and sprouts small flowers in the spring. The plant is native in Europe, Asia, and North Africa, but has also spread to North America where it is considered an invasive species. Nettle can be used in medicines or for a unique flavor in recipes. Nettle is partially toxic, however, with needles on its edges which can cause pain in animals and humans, and thus, can only be eaten if properly cooked. 

  pg. 214 – green
  In the last several pages of the novel, the color green appears over and over again. While green has its own symbolism in the literary canon (green often symbolizes nature or fertility), it has much more specific symbolism for Nabokov. Nabokov, who had synesthesia, saw letters as having their own colors. Green was the color of the Cyrillic letter "П", or "P" in English (Shapiro). It makes sense, then, that Pierre's final appearance has him clothed in green. Notably, Pierre was wearing a "pea-green" hunting outfit, in Russian "гороховый", an adjective often associated with a jester (Shapiro). In addition to its association with the jester, green is often used as a sign of the devil in Russian literary tradition. In fact, in some Russian dialects, jester is a synonym for the devil! Nabokov's use of green so abundantly towards the end of the novel would suggest a further condemnation of the society in which Cincinnatus was forced to exist, a society both farcical and devilish. 

  pg. 214 – Rodrig playing the coachman
  While Nabokov sprinkles imagery of theatrics and performance throughout the entirety of the novel, there is an overwhelming amount of such imagery in the last ten pages of the book. Not only is Rodrig "playing" the coachman, the "lighting" (219) is off, other "performers" (221) make way to the stage, while "rows" of "spectators" (222) watch on. Any subtlety Nabokov employs when alluding to the performative aspects of the book completely disappears by the end. Nabokov demands the reader see Cincinnatus's prison world for what it is: a farce.

  pg. 218 – Golubchik
  A term of endearment in Russian. "Golubchik" roughly translates into dove, from the Russian word "Golub" (голубь).

  pg. 223 – beings akin to him
  These four words which end the novel, may be referring to Gnostic mythology. In Gnostic mythology there exists a belief of a special group of beings descended from transcendent beings of another world. The mythology prophesies that these beings will eventually return to this other world. Considering how out of place Cincinnatus felt among all the characters in the novel and the detail that his father, too, did not fit in, the ending of Cincinnatus transcending and entering another realm, with "beings akin to him", fits perfectly with the Gnostic myth. If we go further and equate Cincinnatus's struggles with the struggles of a writer, then we can interpret this as Nabokov's desire as an artist: to transcend our world and enter a realm beyond the material.