How we cite our quotes: (Chapter.Section.Paragraph)
Quote #1
He was beloved not for any essential ability but for those unforgettable digressions of his, when he would remove his glasses to beam at the past while massaging the lenses of the present. Nostalgic excursions in broken English. Autobiographical tidbits. (1.5)
It seems that Pnin spends an awful lot of time thinking about his past. Why do you think he can't let go? Also, isn't it interesting that the narrator implies Pnin requires some kind of special corrective lenses in order to force his eyes to see the present? We think so.
Quote #2
Directing his memory, with all the lights on and all the masks of the mind a-miming, toward the days of his fervid and receptive youth (in a brilliant cosmos that seemed all the fresher for having been abolished by one blow of history), Pnin would get drunk on his private wines as he produced sample after sample of what his listeners politely surmised was Russian humor. (1.6)
Look at the words used to describe the past in this quote. Fervid, a brilliant cosmos, private wines. The way the narrator describes it the past seems way more awesome than the present. Is it?
Quote #3
Isabel's adolescence had gone with her, or, if not, had been eradicated by her mother, but traces of the girl's childhood somehow had been allowed to remain… (2.2.16)
Why would Joan, Isabel's mom, destroy all traces of her adolescence but keep her childhood? Remember that Isabel's parents can't seem to deal with her marriage, and want her to come home even if that means a divorce. Pretty telling, if you ask us.
Quote #4
The second part of the program consisted of an impressive Soviet documentary film, made in the late forties. It was supposed to contain not a jot of propaganda, to be all sheer art, merrymaking, and the euphoria of proud toil. Handsome, unkempt girls marched in an immemorial Spring Festival with banners bearing snatches of old Russian ballads such as "Ruki proch ot Korei" "Bas les mains devant la Coree," "La paz vencera a la guerra," "Der Friede besiegt den Krief." A flying ambulance was shown crossing a snowy range in Tajikistan. Kirghiz actors visited a sanatorium for coal miners among palm trees and staged there a spontaneous performance. In a mountain pasture somewhere in legendary Ossetia, a herdsman reported by portable radio to the local Republic's Ministry of Agriculture on the birth of a lamb. The Moscow Metro shimmered, with its columns and statues, and six would-be travelers seated on three marble benches. A factory worker's family spent a quiet evening at home, all dressed up, in a parlor choked with ornamental plants, under a great silk lampshade. Eight thousand soccer fans watched a match between Torpedo and Dynamo. Eight thousand citizens at Moscow's Electrical Equipment Plant unanimously nominated Stalin candidate from the Stalin Election District of Moscow. The latest Zim passenger model started out with the factory worker's family and a few other people for a picnic in the country. And then— "I must not, I must not, oh it is idiotical," said Pnin to himself as he felt—unaccountably, ridiculously, humiliatingly—his tear glands discharge their hot, infantine, uncontrollable fluid. (3.7.4)
We have two questions for you: what vision of Russia are these films attempting to depict, and why do they make Pnin cry? We'll even throw in a third question for good measure: why does Pnin think crying is "idiotical?"
Quote #5
It was, I recollect, a splendid summer day and we played, played, played until all the twelve balls were lost. You also will recollect the past with interest when old. (4.8.15)
Here, Pnin is talking to Victor about his childhood. It's interesting to see one of these few father-son moments, and also to think about the difference between this older man and this young teenager. We're sure that Victor is internally rolling his eyes at Pnin's story (we would be too), but this statement brings the difference between the two of them into light. Pnin's life is probably more full of interesting memories then good things happening in the present. On the other hand, Victor's life is all about the future.
Quote #6
He had fallen asleep at last, despite the discomfort in his back, and in the course of one of those dreams that still haunt Russian fugitives, even when a third of a century has elapsed since their escape from the Bolsheviks, Pnin saw himself fantastically cloaked, fleeing through great pools of ink under a cloud-barred moon from a chimerical palace, and then pacing a desolate strand with his dead friend Ilya Isidorovich Polyanski as they waited for some mysterious deliverance to arrive in a throbbing boat from beyond the hopeless sea. (4.9.1)
In case you thought Pnin's obsession with the past was just a waking preoccupation, here's a quote that shows you even his unconscious can't let go of what happened when he was in Russia.
Quote #7
When she first visited The Pines, in 1951, she had never seen the New England countryside before. Its birches and bilberries deceived her into placing mentally Lake Onkwedo, not on the parallel of, say, Lake Ohrida in the Balkans, where it belonged, but on that of Lake Onega in northern Russia, where she had spent her first fifteen summers, before fleeing from the Bolsheviks to western Europe, with her aunt Lidia Vinogradov, the well-known feminist and social worker. (5.2.7)
Well, it's good to know that Pnin isn't the only one who conflates the past and the present, no matter how wrong that may be. It looks like it's some kind of affliction that affects all of the Russian émigrés in the novel. Why do you think that is?
Quote #8
And, every time, one discovers new things—for instance I notice now that Lyov Nikolaich does not know on what day his novel starts: it seems to be Friday because that is the day the clockman comes to wind up the clocks in the Oblonski house, but it is also Thursday as mentioned in the conversation at the skating rink between Lyovin and Kitty's mother." "What on earth does it matter," cried Varvara. "Who on earth wants to know the exact day?" "I can tell you the exact day," said Pnin, blinking in the broken sunlight and inhaling the remembered tang of northern pines. "The action of the novel starts in the beginning of 1872, namely on Friday, February the twenty-third by the New Style. In his morning paper Oblonski reads that Beust is rumored to have proceeded to Wiesbaden. This is of course Count Friedrich Ferdinand von Beust, who had just been appointed Austrian Ambassador to the Court of St. James's. After presenting his credentials, Beust had gone to the continent for a rather protracted Christmas vacation—had spent there two months with his family, and was now returning to London, where, according to his own memoirs in two volumes, preparations were under way for the thanksgiving service to be held in St. Paul's on February the twenty-seventh for the recovering from typhoid fever of the Prince of Wales." (5.3.5)
Besides being so ridiculous that it amazes even Pnin's Anna-Karenina-obsessed friends, this little outburst from Pnin tells us something about him. Pnin is very meticulous about time. Even though in his life, it seems that the past and present blend together, in his studies and in his fiction he wants to pin down time very precisely. As a side note, in addition to telling us a little bit more about Pnin, this is an opportunity for Nabokov to espouse his own views (which he wrote lectures about) of time inconsistencies in the famous Russian novel.
Quote #9
Roy Thayer was weakly twinkling to himself as he looked into his punch, down his gray porous nose, and politely listened to Joan Clements who, when she was a little high as she was now, had a fetching way of rapidly blinking, or even completely closing her black-lashed blue eyes, and of interrupting her sentences, to punctuate a clause or gather new momentum, by deep hawing pants: "But don't you think— haw—that what he is trying to do—haw—practically in all his novels—haw—is—haw—to express the fantastic recurrence of certain situations?" (6.9.1)
We'll just let you try to guess who Joan Clements is talking about here. We'll give you a hint: his initials are V.N. and he wrote a book about an aging Russian émigré obsessed with his past.
Quote #10
One night, as Dr. Barakan, Pnin, and I were sitting at the Bolotovs, I happened to be talking to the neurologist about a cousin of his, Ludmila, now Lady D—, whom I had known in Yalta, Athens, and London, when suddenly Pnin cried to Dr. Barakan across the table: "Now, don't believe a word he says, Georgiy Aramovich. He makes up everything. He once invented that we were schoolmates in Russia and cribbed at examinations. He is a dreadful inventor (on uzhasniy vidumshchik)." Barakan and I were so astounded by this outburst that we just sat and looked at each other in silence. (7.4.2)
This is a curveball. After all this time listening to the narrator, assuming that he's telling us the truth, we have Pnin basically calling him a liar. If these things are lies, what else is? How does that change Pnin's memories? Are they all made up?