she only ‘loyally’ shares Ferdinand’s tastes, she fakes an acquaintance with his work. But her imitation of Ferdinand’s world is fatal to her, for Ferdinand is connected only with artificiality and death, art and antilife,” (Fowler 70).It is humorous that the contention against Fowler’s claim comes from Ferdinand himself. “Criticism!’ he [Ferdinand] exclaimed. ‘Fine criticism! Every slick jackanapes sees fit to read me a lecture. Ignorance of my work is their bliss. My books are touched gingerly, as one touches something that may go bang. Criticism! They are examined from every point of view except the essential one,” (Nabokov 427). Spring in Fialta, as well as countless other works by Nabokov are painstakingly marveled at in hopes to find hidden plotlines, deeper meanings and instead plummet into Nabokov’s labyrinth of reader traps, never to return.The plotline of Spring in Fialta in some ways parallels that of Pushkin’s Eugene Onegin and perhaps Nabokov intends for it to be a parody. Nabokov, of course, was very familiar with this work. However, I am unaware if this short story was penned before or after his translation and gargantuan commentary of Eugene Onegin. Eugene Onegin is a story of a love that can never be, which Spring in Fialta also reflects. There are a few differences, however. The first is that the roles are reversed: Victor is Tatyana and Nina is Onegin. Next, Nina never falls in love with Victor. Finally, the story of Onegin leaves the reader feeling very sad and disappointed, and as I stated earler, the ending of Spring in Fialta leaves the reader with a sense of relief. Perhaps this is Nabokov’s alternative to the kitschy romance story. ...
