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Notes on Prosody, Nabokov’s book about poetic meter, is often dismissed as crotchety. It actually succeeds in its stated goal, though, of shedding light on Pushkin’s metrical practice in Eugene Onegin. I recently made my way through Babette Deutsche’s somewhat clomping translation of the book-length poem and suspected what Nabokov shows, that Russia’s high-art verse overlaps with certain light-verse effects in English, freighting the task of translation with more perils than its perilous usual.As for the crotchets, Nabokov accurately diagnoses prosodic theory in English (“muddleheaded”) and tries to start afresh with his own terminology, replacing “reversal” or “inversion” (“stamped on” in the line, “Which yet survive, stamped on these lifeless things”) with “tilt,” while ousting “pyrrhic” (a foot in which a lexically unaccented syllable takes the metrical beat, as “on” does in the line, “The gentle knight was pricking on the plain”) for “scud.” Tilts and scuds. These terms do a great job of expressing the effects that each variation creates, and I’m glad to have them, even if introducing new, colorful terminology isn’t likely to clear up an existing muddle.What about spondees? Like many others, Nabokov doesn’t believe in them on the grounds that stress is relative in a poetic context. That’s true. But why make so much of the one effect (scuds) and nothing of the other (“false” spondees)? Neither of them “exist” as metrical variations in the duple line, but both bring important modulations to the phrasing. The answer is that Russian (with its longer words) is a scud-ridden language, and Nabokov is trying to show the non-Russian reader the poetic effect of this linguistic difference. Nevertheless, it’s a little weird (even crotchety) to scan a hyperstressed line like “They must live still—and yet, God knows” as perfectly regular.Actually, it’s more than a little weird coming from a guy whose ear for English, Russian, French, and German poetry is so fine-tuned that he needs new taxonomies for effects that other prosodists aren’t even aware of. He classifies tilts, for example, according to the way they play out over various combinations of mono- and polysyllables (split tilts, short tilts, duplex tilts, long tilts, even duplex reverse tilts).This book also contains a second meditation on Eugene Onegin--the astonishing and sometimes insane Abram Gannibal, a sixty-page investigation of a footnote to the text. In that footnote, Pushkin alludes to his African ancestor (Abram Gannibal), and I suppose if Shakespeare had done the same we would have a few disproportionately long treatises on it. Pushkin makes a romance of his heritage, and certain biographers have done the same. Reader’s of Paul Veyne’s Did the Greeks Believe in Their Myths? might find something here to chew on, but most of us will come to the book more interested in Nabokov than Pushkin. It’s fun to see him disassemble the fiction, even if it sometimes feels like watching one of the twentieth century’s most interesting minds spinning its wheels in an icy parking lot.But I go on. . .

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