King, Queen, Knave  
200px
1st edition (Russian)
Author(s) Vladimir Nabokov
Original title Король, дама, валет (Korol', dama, valet)
Translator Dmitri Nabokov and Vladimir Nabokov
Country Russia
Language Russian
Genre(s) novel
Publisher Slovo (Russia)
McGraw-Hill (US)
Weidenfeld & Nicholson (UK)
Publication date October, 1928
Published in
English
1968
Media type Print (Hardback & Paperback)
ISBN NA

King, Queen, Knave is a novel written by Vladimir Nabokov (under his pen name V. Sirin), while living in Berlin and sojourning at resorts in the Baltic in 1928. It was published as Король, дама, валет (Korol', dama, valet) in Russian in October of that year; the novel was translated into English by the author's son Dmitri Nabokov (with significant changes made by the author) in 1968, forty years after its Russian debut.

Contents

Plot summary [link]

Franz (Bubendorf), a young man from a small town, is sent away from home to work in the Berlin department store of his well-to-do uncle (actually, his mother's cousin), Dreyer. On the train ride to Berlin Franz is seated in the same compartment with (Kurt) Dreyer and Dreyer's wife, Martha, neither of whom Franz has met. Franz is immediately enchanted by Martha's beauty, and, shortly after Franz begins work at the store, the two strike up a secret love affair.

As the novel continues Martha's distaste for her husband grows more pronounced, and with it her adoration for Franz. Franz, meanwhile, begins to lose any will of his own, and becomes a numb extension of his lover. Dreyer, meanwhile, continues to lavish blind adulation on his wife, and is only hurt, not suspicious, when she returns his love with resentment.

As her relationship with Franz deepens, Martha begins to hatch schemes for Dreyer's demise. Franz himself has begun to lose interest in Martha, but he goes along with her plotting. As part of Martha's plans, the three vacation together at the Seaview Hotel at Gravitz, a resort at the Baltic. She plans to take Dreyer, who cannot swim, out in a rowing boat so he can be drowned. On the boat, however, the plot is suspended by Martha when she learns from Dreyer that he is about to close a very profitable business deal. Martha then gets pneumonia from the rain and the cold on the boat. To Dreyer's great sorrow she passes away; he never learned about the betrayal and the danger he was in. Franz relieved by her death is heard laughing "in a frenzy of young mirth".

Other characters in the novel are the "conjuror" Old Enricht who rents out a room to Franz, and the Inventor who was developing robot-like "automannequins" financed by Dreyer who hoped to make money by selling the invention to the American Mr. Ritter. The Inventor promised to make three dummies, however, at the final performance for Ritter, only the "elderly gentleman" with Dreyer's jacket and the woman ("walking like a streetwalker") were ready. The woman dummy crashed in a final clatter.

Themes, foreshadows [link]

One of Nabokov's favorite subjects, the doppelgänger theme, is enacted through the creation of the "automannequins". The character's fates can be read in the automatons' performance: the male dummy performs with panache and exits the stage; the female dummy's crash foreshadows Martha's demise; the third dummy is incomplete and unable to perform its intended mission.

Additionally, the actual automaton Franz represents a backward critique by Nabokov of the Weimar German psyche—ripe for destructive organization. The picture of Franz is that of a lower-class German who is easily manipulated, surrenders his moral judgment, and becomes increasingly dehumanized. In the book's last scenes, Nabokov describes Franz (with great penetration and comedy) as having "reached a stage at which human speech, unless representing a command, was meaningless."[1] When Nabokov wrote the story, Nazism was then in its nascent stages, and Franz appears as a "Nazi in the making".[2] Franz is faced in the train to Berlin by a man with a grotesque facial disfiguration, a glimpse of his fate according to the narrator. The narrator tells us also that Franz will be eventually be “guilty of worse sins than avunculicide", a section that was inserted by Nabokov much later with historical hindsight when he prepared the English translation.[2]

Authorial walk-ons [link]

The author and his wife, though not directly identified, are portrayed near the end of the novel as a happy, but "puzzling" couple who are also vacationing in the Baltic resort and speaking in a foreign tongue;[3] they have a butterfly net, which is taken for a fishing net by Franz and a shrimp net by Martha, but Dreyer identifies it correctly. Later Franz sees them again and feels they are talking about him and know "everything about his predicament". Dreyer reads a list of people in their hotel. The strange name Blavdak Vinomori strikes him; presumably this is the name of the male of this couple; it is an anagram of Vladimir Nabokov. The name Mr. Vivian Badlook also appears in the text, a "fellow skier and teacher of English," who photographs Dreyer in Davos, another anagram of Vladimir Nabokov.

In the book, there's also a self-reference to a fictional movie King, Queen, Knave, based on a play by a "Goldemar".

Film adaptation [link]

A film adaptation, directed by Jerzy Skolimowski and starring Gina Lollobrigida, David Niven and John Moulder-Brown, was released in 1972.

References [link]

  • King, Queen, Knave, First Edition, McGraw-Hill Inc., 1968
  1. ^ Vladimir Nabokov, King, Queen, Knave, New York: McGraw Hill, 1968. p. 247.
  2. ^ a b Leona Toker. Nabokov. The Mystery of Literary Structure. Cornell University Press, Ithaca, New York, 1989. Page 63. ISBN 0-8014-2211-6
  3. ^ Nabokov, King, Queen, Knave, pps, 232, 254. Nabokov describes himself and Vera in a breezy prose postcard: "The girl had a delicately painted mouth and tender gray-blue eyes, and her fiancé or husband , slender, elegantly balding, contemptuous of everything on earth but her, was looking at her with pride; and Franz felt envious of that unusual pair."

External links [link]


https://wn.com/King,_Queen,_Knave

Sol Invictus (band)

Sol Invictus is an English neofolk and neoclassical group fronted by Tony Wakeford. Wakeford has been the sole constant member of the group since its inception, although numerous musicians have contributed and collaborated with Wakeford under the Sol Invictus moniker over the years.

Overview

After disbanding his controversial project Above the Ruins, Wakeford returned to the music scene with Sol Invictus in 1987. Since then Sol Invictus has had many musician contributions, including Sarah Bradshaw, Nick Hall, Céline Marleix-Bardeau , Nathalie Van Keymeulen, Ian Read and Karl Blake.

Wakeford repeatedly referred to his work as folk noir. Beginning with a mixture of a rough, bleak, primitive post punk sound and acoustic/folk elements, the band's music gradually evolved toward a lush, refined style, picking up classically trained players such as Eric Roger, Matt Howden, and Sally Doherty. In the mid-1990s, Sol Invictus spun off a side project called L'Orchestre Noir (later changed to Orchestra Noir) to explore an even more classically influenced direction. 2005 saw the departure of longtime contributors Roger and Blake, leading to a new line-up including Caroline Jago, Lesley Malone and Andrew King.

King & Queen (group)

King & Queen was a eurobeat group under the A-Beat C label. This is one of the female group projects on the said label, alongside Go Go Girls, Groove Twins, A-Beat Sisters, 70s Queens, Three Of Spades and Happy Hour. Vocalists in this group include Elena Ferretti, Alessandra Mirka Gatti, Francesca Contini, Elena Gobbi, Denise De Vincenzo and Annerley Gordon.

Discography

Wild Night

"Wild Night" is a song written by Northern Irish singer-songwriter Van Morrison and is the opening track on his fifth studio album Tupelo Honey. It was released as a single in 1971 and reached number twenty-eight on the Billboard Hot 100 chart.

Morrison has continued to perform it in concerts throughout his career and it has been covered by many artists and bands. A cover version recorded by John Mellencamp and Meshell Ndegeocello and released as a single in 1994 reached number three on the Billboard Hot 100 chart of 1994 and topped the U.S. adult contemporary chart.

Recording and composition

"Wild Night" was first recorded during a session with Lewis Merenstein as producer at Warners Publishing Studio in New York City in autumn 1968. The version released on Tupelo Honey was recorded in spring 1971 at Wally Heider Studios in San Francisco with Ted Templeman as producer.

Response

Tom Maginnis in Allmusic describes it as: "an effusive three and a half minutes of Stax-inspired R&B, buoyed by a sweet guitar lick from Ronnie Montrose of such quality that would make Steve Cropper proud."

Podcasts:

PLAYLIST TIME:

King & Queen

by: Ciara

(Intro - T.I.) Ay, ay, ay! Now listen to me for a minute. Ay, ay, ay! Can ya hear me? (Ciara) Yeah, yeah, ye-ah! La-la-la-la-la-la-la! Ha ha ha, yeah, ye-ah! La-la-la-la-la-la-la-la-la! Ooh-ooh, ooh-ooh-ooh, ooh-ooh-ooh, ye-ah!
(Verse 1 - T.I.) I know what you be thinkin' when ya hear me tryna holla, I'm a baller! You don't wanna come near me. I know ya hear me, but you really ain't tryna be bothered. Cause you probably used to leavin' out the club gettin' followed. But listen, shawty, I ain't nothin' like a stalker. If I say then I mean it, I ain't just a sweet talker. I know I want a woman 'fore i ever try to call her. I know ya first mind tell ya to decline, but you oughta. Come and chill for a minute, take a load off. Know ya heard rumors, playin' hoes, them throw it off! If ya choose to listen to them then it yo loss. But what you wanna do let me know, 'fore I roll off. I know ya havin' second thoughts, it ain't yo fault. Just don't let the bling scare ya off, I'm a sure floss. But I keep my business to myself, let the hoes talk. Kick it wit da King, be the Queen, yup, at no cost.
(Chorus - Ciara) I'll be your Queen, for a day. baby we can get away (maybe we can get away). I can do anythin u wanna do (yeah), any time just pick its place. I'll be your Queen, for a day. Maybe you won't have to chase (baby). If ya really want me to be the one, all ya gotta do is say, "Be My Queen!"
(Verese 2 - T.I.) Come and hang wit me, shawty, I can change ya life! Not a lil bit, look I'm talkin' major! Like first class flights, not firt class seats. Got a "Go-G Phone" if ya commin' wit me. I put you in position bra, we beyond the ol' beach. Hoppin' in the cool cars, right in front of the suite. Tell the driver to drop us off in front of the beach. Set up a table in the sand, fix us somethin' to eat. You'll be surprised whatcha learn sit and talkin' to me. How the moon and the stars glisten off of the sea. You've hardly ever seen only one woman it me, and if ya did then she probably mean something to me. I know you know I toll blocks, and I come from the street. Now, I done grown up a lot, sinceI was runnin' the streets. And even if that don't change ya opinion in me, aren't ya glad you got the chance to come and kick it with me, right?
(Chorus - Ciara) I'll be your Queen, for a day. baby we can get away (maybe we can get away). I can do anythin u wanna do (yeah), any time just pick its place. I'll be your Queen, for a day. Maybe you won't have to chase (baby). If ya really want me to be the one, all ya gotta do is say, "Be My Queen!"
(Verse 3 - T.I.) I know ya had a chance to listen to the rest flirt, for you give on up its all come and try the best first. I can give it to ya slow, i can make the sex hurt. Ooh, but no pressure, we ain't gotta have sex first. I know you wanna note on this, some nutural respect first. But before we go kick it if ya wanna clear ya head first. We can blow on the first bloat, 'till it make ya chest hurt. Take a couple shots, shot the top of the wet vert. Call up ya homegirl, we can go and get her! if she love a good time then tonight might impress her (ha ha). Squeeze in ya tight skirt, match wit ya best purse. I can show ya both how to ball im an expert.




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