－納布可夫 Vladimir Nabokov／著《愚昧人生》Laughter in the Dark (novel)邱慧璋譯
（台北爾雅出版社1975年台版，1981年12月三版，1985年四版)
Bernardino Luini (c. 1480/82 – June 1532) was a North Italian painter from Leonardo's circle. Both Luini and Giovanni Antonio Boltraffio were said to have worked with Leonardo directly; he was described to have taken "as much from Leonardo as his native roots enabled him to comprehend".[1] Consequently many of his works were attributed to Leonardo. He was known especially for his graceful female figures with elongated eyes, called Luinesque by Vladimir Nabokov.[2] (22頁)
彼は特に、ウラジーミル・ナボコフが『ルイネスク』（Luinesque）と呼んだ、うっすらと開いた目をした優雅な女性像で知られる[2]。他特別，納博科夫是他所謂的“Ruinesuku”（Luinesque），是著名的，有一個依稀睜眼優雅的女性形象[2]。
- ^ "Luinesque eyes... God, how I kissed them..." ("La Veneziana", 1924).
http://en.wikipedia.org/wiki/Bernardino_Luini
"Venetsianka" ("La Veneziana," 1924) deserves special attention by the students of Nabokov's early works because it employs elements of the fantastical in order to explore the connections among desire, painting, and the otherworld as sources of artistic inspiration and expression. The longest among the early stories and only recently published in the original, "La Veneziana," like its coevals "The Potato Elf" and "Revenge," is set in England. The main triangle of desire entails one McGore, an old art dealer and an adviser to a rich art collector known as the Colonel, McGore's young wife Maureen, and the Colonel's son Frank. McGore has located a rare fifteenth-century Italian canvas and sold it to the Colonel . The presumed author of the painting, Sebastiano Luciani, called Sebastiano del Piombo (1485-1547), was a major Renaissance painter of the Venetian School, and Nabokov might have seen del Piombo's famous canvas, Ritratto Femminile ("Dorotea"), in Berlin (Gem�ldegalerie, Berlin-Dahlem; the painting appears on the cover of the French edition of Nabokov's early stories to which "La Veneziana" gave its title; see La V�nitienne et autres nouvelles, Paris, 1990). The landscape vista in the background of del Piombo's portrait symbolizes an alluring otherspace, that is a space with a dissimilar set of parameters.
. Entering the Otherspace
"Venetsianka" ("La Veneziana," 1924) deserves special attention by the students of Nabokov's early works because it employs elements of the fantastical in order to explore the connections among desire, painting, and the otherworld as sources of artistic inspiration and expression. The longest among the early stories and only recently published in the original, "La Veneziana," like its coevals "The Potato Elf" and "Revenge," is set in England. The main triangle of desire entails one McGore, an old art dealer and an adviser to a rich art collector known as the Colonel, McGore's young wife Maureen, and the Colonel's son Frank. McGore has located a rare fifteenth-century Italian canvas and sold it to the Colonel . The presumed author of the painting, Sebastiano Luciani, called Sebastiano del Piombo (1485-1547), was a major Renaissance painter of the Venetian School, and Nabokov might have seen del Piombo's famous canvas, Ritratto Femminile ("Dorotea"), in Berlin (Gem�ldegalerie, Berlin-Dahlem; the painting appears on the cover of the French edition of Nabokov's early stories to which "La Veneziana" gave its title; see La V�nitienne et autres nouvelles, Paris, 1990). The landscape vista in the background of del Piombo's portrait symbolizes an alluring otherspace, that is a space with a dissimilar set of parameters.
While Maureen and Frank are in the midst of a tempestuous affair in the story, Frank's college roommate, one Simpson, also feels an irresistible attraction to Maureen. More so, after looking at the Colonel's new painting, Simpson notices an uncanny resemblance between Maureen and the woman on the canvas. To add to Simpson's fascination, McGore shares a "secret": years of dealing with paintings have taught him that through an act of concentrated will one can enter the space of a given painting and explore it from within. Simpson is equally drawn to Maureen and the Venetian woman in the painting. At night, literalizing McGore's supernatural metaphor, Simpson walks into the space of the portrait where the beautiful Maureen/La Veneziana offers him a lemon. Simpson "grows" into the canvas, becomes part of its painted space. The story's fantastical spring has now almost unwound itself.
"La Veneziana" embodies several key elements to become central to Nabokov's poetics. Afloat in the story's enchanting and elegant syntax, and never fully synthesized and harmonized, these elements call for scrutiny. One should start paying increasing attention to Nabokov's concern with the problem of entering a space whose parameters differ from the regular space enveloping a character. In addition, Nabokov constructs this otherspace to host visually perfect images. In the case of La Veneziana's portrait, the pictorial space of the canvas becomes charged with the features of the stunning and sensuous Maureen. Frank endows his creation with extraordinary perfection to further his love for the original and thereby not repeat Pygmalion's tragic mistake. In contrast to Frank, his friend Simpson falls in love with an image of idealized feminine beauty which appears to him even better than the possessor of this beauty in flesh and blood. Simpson succumbs to the magnetism of the otherworldly pictorial space, which gleams through an opening in his mundane reality. In his consciousness, the image of beauty wins over beauty itself. To put it differently, when Simpson reads the text of the otherspace within the story by gazing deeply at the portrait, he is compelled to become part of that text. During the act of reading, the reader who follows Simpson in his lunatic exploration thus experiences a textual simulacrum of the pictorial space which Simpson transgresses in the story. What we have then is a story, a verbal text, which frames another text-the pictorial text of the otherspace rendered by a linguistic medium-and thereby foregrounds a specific model of its reading.
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