Набоков в Америке. По дороге к «Лолите» - стр. 62
До появления его и Пушкина русская литература была подслеповатой… цвета как такового она не видела и лишь пользовалась истертыми комбинациями слепцов-существительных и по-собачьи преданных им эпитетов, которые Европа унаследовала от древних. Небо было голубым, заря алой, листва зеленой… Только Гоголь (а за ним Лермонтов и Толстой) увидел желтый и лиловый цвета>35.
Знаменитый фрагмент из “Мертвых душ”[25] – причем знаменитым его сделал именно Набоков, в двух книгах и множестве лекций, – в варианте Гарнетт выглядит так:
The big overgrown and neglected old garden which stretched at the back of the house, and coming out behind the village, disappeared into the open country, seemed the one refreshing feature in the great rambling village, and in its picturesque wildness was the only beautiful thing in the place. The interlacing tops of the unpruned trees lay in clouds of greenery and irregular canopies of trembling foliage against the horizon. The colossal white trunk of a birch-tree, of which the crest had been snapped off by a gale or a tempest, rose out of this green maze and stood up like a round shining marble column; the sharp slanting angle, in which it ended instead of in a capital, looked dark against the snowy whiteness of the trunk, like a cap or a blackbird>36.
У Набокова:
An extensive old garden which stretched behind the house and beyond the estate to lose itself in the fields, alone seemed, rank and rugged as it was, to lend a certain freshness to these extensive grounds and alone was completely picturesque in its vivid wildness. The united tops of trees that had grown wide in liberty spread above the skyline in masses of green clouds and irregular domes of tremulous leafage. The colossal white trunk of a birchtree deprived of its top, which had been broken off by some gale or thunderbolt, rose out of these dense green masses and disclosed its rotund smoothness in midair, like a well proporotioned column of sparkling marble; the oblique, sharply pointed fracture in which, instead of a capital, it terminated above, showed black against its snowy whiteness like some kind of headpiece or a dark bird>37.
Сейчас, спустя семьдесят лет, оба варианта кажутся чересчур многословными. Впрочем, Набокова это ничуть не смущает: его идеал – не точность, но верность стилистике и ритмике Гоголя (так, “[отломленный] бурею или грозою” Набоков переводит как