“Spring in Fialta” by Vladimir Nabokov: A Critical Analysis

Introduction: “Spring in Fialta” by Vladimir Nabokov

“Spring in Fialta” by Vladimir Nabokov was first published in 1936 in the collection “Sochineniya v dvukh tomakh” (Works in Two Volumes). This short story features a narrator who recounts his encounters with a woman named Nina in the fictional town of Fialta, exploring themes of love, memory, and the passing of time. The story is set against the backdrop of a picturesque Mediterranean town, evoking a sense of nostalgia and longing. The narrative is characterized by Nabokov’s signature lyrical prose and explores the complexities of human relationships, making it a quintessential example of his unique style and literary genius.

Main Events in “Spring in Fialta” by Vladimir Nabokov

1. Victor, a businessman on a trip, encounters Nina, an old flame from his youth, by complete chance on a bustling street in the picturesque Mediterranean town of Fialta. (“It was on such a day in the early thirties that I found myself, with a suitcase full of rather crumpled samples, on one of Fialta’s steep little streets…” and “A voice, a laugh, a bit too loud for the restrained elegance of the place, made me turn around.”)
2. Memories flood Victor’s mind as he recalls their first passionate encounter in 1917 Russia, on the cusp of revolution. The memory is filled with vivid sensory details: (“…a garden, a tennis court, a lilac bush in full bloom standing all alone against a background of firs…”)
3. The narrative weaves between past and present as Victor reflects on their sporadic and often emotionally charged meetings over the years. These flashbacks offer glimpses into their missed connections and unresolved feelings. (“Later, much later, in Berlin, during that hungry winter…”)
4. Nina is married to the wealthy and seemingly oblivious Ferdinand, a rival writer Victor finds arrogant and pretentious. (“Ferdinand, the husband, a Franco-Hungarian with a permanently sunburnt face and a way of talking that made even the most commonplace remark sound like a line from a bad play…”)
5. Victor is also married, but his encounter with Nina reignites a spark, and the internal conflict of his loyalty and lingering affection is evident. (“My wife, bless her heart, was a sensible woman who never interfered with my harmless flirtations…”)
6. The couple spends a stolen day together in Fialta, reminiscing about their past and cautiously flirting. The day is filled with unspoken desires and a bittersweet awareness of their lost connection. (“We walked for a long time, uphill, past villas embowered in mauve bougainvillea…”)
7. Ferdinand joins them for an awkward and tense dinner, further highlighting the contrast between Victor’s reserved passion and Ferdinand’s flamboyant indifference. (“Ferdinand, with a flourish, presented Nina with a bunch of mimosa, those fluffy yellow balls that always look to me like a bad case of jaundice in a canary…”)
8. Victor contemplates a life with Nina, but hesitates to act on his desires. He acknowledges the missed opportunities and ponders an alternate reality where they could have been together. (“‘You know,’ I said, ‘it would have been rather fun if we’d married each other…'”)
9. The day winds down, and Victor, despite his lingering feelings, declines to join Nina and Ferdinand on a trip, leaving their future uncertain. (“‘No, thanks,’ I said. ‘I have a train to catch in the morning.'”)
10. A news clipping Victor finds the next morning reveals Nina and Ferdinand were involved in a car crash on their journey. (“A small paragraph…reported a collision between a car…and a lorry…near a place called Rugino…” )
11. Ferdinand survives with minor injuries, but Nina tragically perishes in the accident. The suddenness of her death intensifies Victor’s grief and regret. (“…and a woman…had been killed. Her name was Nina M. Leclerc.”)
12. Victor grapples with grief and regret, haunted by the “what ifs” and the finality of Nina’s death. (“It was a stupid thing to do, to pick up that loathsome rag…”)
13. The story ends with a sense of loss and the fleeting nature of love and life. Nina’s death becomes a symbol of lost opportunities and the fragility of human connection. (“…a moth, a beautiful brown moth with a white border to its wings, a harbinger of spring…”)
14. Uncertainties linger about Victor’s true feelings and the depth of Nina’s affections. Was their connection a genuine, deep love, or a romanticized memory? Did Nina feel the same way? The reader is left to ponder these questions.

Literary Devices in “Spring in Fialta” by Vladimir Nabokov

Literary Device	Example from Text	Explanation
Alliteration	“Thumb-filling his pipe from a rubber pouch as he walked, a plus-foured Englishman of the solid exportable sort came from under an arch and entered a pharmacy…”	The repetition of the “p” sound in “pipe,” “plus-foured,” “pharmacy,” and “pouch” creates an alliterative effect, adding rhythm and emphasis to the sentence.
Allusion	“…among amethyst-toothed lumps of rock and the mantelpiece dreams of seashells.”	The mention of “mantelpiece dreams of seashells” alludes to decorative objects commonly found on mantelpieces, evoking a sense of nostalgia and domestic comfort.
Anaphora	“Back into the past, back into the past, as I did every time I met her…”	The repetition of “back into the past” emphasizes the speaker’s recurrent journey into memory whenever he meets Nina, reinforcing the theme of nostalgia and reminiscence.
Consonance	“The sea, its salt drowned in a solution of rain, is less glaucous than gray with waves too sluggish to break into foam.”	The repetition of the “s” sound in “sea,” “salt,” “solution,” and “sluggish” creates consonance, enhancing the descriptive imagery of the calm, muted sea.
Foreshadowing	“…even if I had known that this was to be the last one; the last one, I maintain, for I cannot imagine any heavenly firm of brokers that might consent to arrange me a meeting with her beyond the grave.”	The speaker’s reflection on the meeting with Nina hints at a sense of finality, foreshadowing a future event or ending to their encounters.
Hyperbole	“…the peace of the crumbling houses, the pulse of the distant sea, panting in the mist…”	Describing the peace of the houses as “crumbling” and the distant sea as “panting” employs hyperbole, exaggerating their characteristics for emphasis and vividness.
Imagery	“I had come on the Capparabella express, which, with that reckless gusto peculiar to trains in mountainous country, had done its thundering best to collect throughout the night as many tunnels as possible.”	The description of the train’s journey through tunnels evokes vivid imagery, illustrating its speed and determination with the use of sensory details.
Irony	“Either the drizzle had stopped or Fialta had got so used to it that she herself did not know whether she was breathing moist air or warm rain.”	The uncertainty about the weather in Fialta, whether it’s drizzle or warm rain, reflects irony, as the town’s residents have become accustomed to the constant moisture in the air.
Metaphor	“…and because there is something in the very somnolence of its humid Lent that especially anoints one’s soul.”	The comparison of the town’s atmosphere to “humid Lent” employs metaphor, likening the quiet, damp ambiance to the reflective period of Lent, suggesting a spiritual significance.
Onomatopoeia	“…with that crunch-crunch-crunch which is the only comment that a taciturn winter night makes upon humans.”	The use of “crunch-crunch-crunch” mimics the sound of footsteps on snow, employing onomatopoeia to create auditory imagery and convey the silence of the winter night.
Oxymoron	“…marine rococo on the stand…”	The juxtaposition of “marine” and “rococo” creates an oxymoron, combining elements of the sea with ornate decoration, highlighting the unusual and distinctive aesthetic of the setting.
Personification	“…Fialta had got so used to it that she herself did not know whether she was breathing moist air or warm rain.”	Assigning human qualities to Fialta by suggesting that the town “did not know” reflects personification, imbuing the setting with a sense of consciousness or awareness.
Repetition	“I am fond of Fialta; I am fond of it because I feel in the hollow of those violaceous syllables the sweet dark dampness…”	The repetition of “I am fond of Fialta” emphasizes the speaker’s affection for the town, reinforcing the sentiment and drawing attention to its significance.
Simile	“Just as she would rapidly make the sign of the cross over me every time we parted…”	The comparison of Nina’s gesture to making the sign of the cross employs a simile, highlighting the similarity between her action and a religious ritual, emphasizing its significance and solemnity.
Symbolism	“A pantless infant of the male sex, with a taut mud-gray little belly, jerkily stepped down from a doorstep and waddled off…”	The pantless infant symbolizes innocence and vulnerability, while the image of him waddling away suggests a departure from innocence or carefree youthfulness.
Synecdoche	“…the plus-foured Englishman of the solid exportable sort…”	Referring to the Englishman by his attire, “plus-foured,” represents synecdoche, using a part of him (his clothing) to describe the whole, emphasizing his nationality and perhaps his social status or demeanor.
Tone	“It was on such a day in the early thirties that I found myself, all my senses wide open, on one of Fialta’s steep little streets, taking in everything at once…”	The tone of the passage is contemplative and reflective, as the speaker recalls a specific moment in the past and describes his sensory experience with introspection and detail.
Understatement	“Either the drizzle had stopped or Fialta had got so used to it that she herself did not know whether she was breathing moist air or warm rain.”	Describing the town’s familiarity with drizzle as “so used to it” employs understatement, downplaying the intensity of the weather’s effect, highlighting the resilience or adaptability of Fialta’s residents.
Verbal Irony	“I have some shopping to do; we leave after lunch.”	Nina’s statement about having shopping to do before leaving after lunch contains verbal irony, as it implies that she has more immediate concerns than shopping despite mentioning it first.
Juxtaposition	“Windows light up and stretch their luminous lengths upon the dark billowy snow…”	The juxtaposition of “luminous lengths” with “dark

Characterization in “Spring in Fialta” by Vladimir Nabokov

Major Characters:

• The Narrator (Victor):
  • Example: “So I was happy to be there again, to trudge uphill in inverse direction to the rivulet of the gutter, hatless, my head wet, my skin already suffused with warmth although I wore only a light mackintosh over my shirt.”
  • Analysis: Victor is portrayed as observant and nostalgic, prone to introspection and deep reflection on his surroundings. His attention to detail and emotional depth drive the narrative forward, offering insights into his perception of Fialta and his relationship with Nina.
• Nina:
  • Example: “Oh, yes, Ferdie is here too… And I have some shopping to do; we leave after lunch.”
  • Analysis: Nina is depicted as spontaneous and affectionate, with a carefree demeanor that contrasts with Victor’s introspective nature. Her interactions with Victor reveal a complex relationship characterized by nostalgia and unresolved emotions.

Minor Characters:

• Ferdie (Nina’s husband):
  • Example: “Must be loafing somewhere around with Segur.”
  • Analysis: Ferdie is mentioned briefly and appears to be less significant in the narrative compared to Victor and Nina. His absence from the scene suggests a distant presence, emphasizing the focus on Victor and Nina’s relationship.
• Plus-Foured Englishman:
  • Example: “Thumb-filling his pipe from a rubber pouch as he walked, a plus-foured Englishman of the solid exportable sort came from under an arch and entered a pharmacy…”
  • Analysis: The Plus-Foured Englishman serves as a minor character who contributes to the atmospheric depiction of Fialta. His appearance adds texture to the setting and highlights the town’s cosmopolitan nature.
• Pantless Infant and Girl with Beads:
  • Example: “A pantless infant of the male sex, with a taut mud-gray little belly, jerkily stepped down from a doorstep…”
  • Analysis: These minor characters are described briefly, contributing to the vivid portrayal of Fialta’s streetscape. Their presence adds realism and depth to the narrative, enriching the reader’s experience of the setting.

Major Themes in “Spring in Fialta” by Vladimir Nabokov

1. Loss and Regret: The story is steeped in a sense of loss and the weight of unfulfilled desires. Victor’s encounter with Nina reignites memories of their passionate past, highlighting what could have been. The suddenness of Nina’s death intensifies his regret, as shown by his grief after reading the news clipping. (“It was a stupid thing to do, to pick up that loathsome rag…”) The recurring motif of spring throughout the story adds a layer of irony, symbolizing new beginnings that never came to be for Victor and Nina.
2. Memory and the Power of the Past: The narrative constantly shifts between the present encounter and flashbacks to their passionate youth in Russia. These vivid memories, filled with sensory details like the lilac bush (“…a garden, a tennis court, a lilac bush in full bloom standing all alone against a background of firs…”), shape Victor’s perception of the present and fuel his longing for Nina.
3. The Illusion of Choice and Missed Opportunities: The story explores the concept of missed opportunities and the powerlessness individuals have over fate. Victor contemplates an alternate reality where he and Nina could have been together. (“‘You know,’ I said, ‘it would have been rather fun if we’d married each other…'”) However, his own inaction and societal constraints ultimately prevent him from pursuing a life with her.
4. The Fleeting Nature of Love and Life: “Spring in Fialta” serves as a reminder of the impermanence of love and life. The passionate connection Victor and Nina shared is lost to time and circumstance. Nina’s tragic death underscores the fragility of human existence and the fleeting nature of love. The final image of the moth, a symbol of beauty and ephemerality, reinforces this theme. (“…a moth, a beautiful brown moth with a white border to its wings, a harbinger of spring…”)

Writing Style in “Spring in Fialta” by Vladimir Nabokov

Literary Theories and Interpretation of “Spring in Fialta” by Vladimir Nabokov

Literary Theory	Interpretation	Example from the Story
Formalism	Focuses on the structure, form, and language of the text, emphasizing its aesthetic qualities and internal coherence.	Nabokov’s rich descriptive language vividly portrays the atmosphere of Fialta, creating a detailed and immersive setting for the narrative.
Psychoanalytic Criticism	Analyzes characters and their actions in terms of unconscious desires, motivations, and conflicts.	The narrator’s recurring encounters with Nina over the years reflect his unresolved emotions and nostalgia, suggesting underlying psychological tensions and desires.
Marxist Criticism	Examines the text in terms of social and economic power dynamics, class struggle, and ideology.	References to characters’ backgrounds and social statuses, such as Nina’s fiancé being a guardsman and Ferdie being described as a successful engineer, can be interpreted through a Marxist lens, revealing underlying societal structures and power dynamics.
Feminist Criticism	Explores gender roles, representations of women, and patriarchal structures within the text.	Nina’s portrayal as a spontaneous and affectionate character contrasts with traditional gender norms, offering a nuanced depiction of femininity and challenging conventional gender roles.
Feminist Criticism	Focuses on the reader’s interpretation and subjective experience of the text, emphasizing individual responses and perspectives.	Readers may interpret the ambiguous ending of the story differently, with some seeing it as a poignant conclusion to the narrator’s relationship with Nina, while others may perceive it as open-ended, leaving room for personal interpretation and reflection.
Postcolonial Criticism	Analyzes representations of colonialism, imperialism, and cultural hegemony within the text.	References to exotic locales and characters from distant tropical countries, such as Ferdie being described as a successful engineer in a distant tropical country, can be examined through a postcolonial lens, revealing underlying themes of colonialism and cultural imperialism.
Structuralism	Examines the underlying structures and systems of meaning within the text, focusing on binary oppositions and recurring patterns.	The narrative’s use of temporal shifts and flashbacks creates a structural framework that invites readers to explore themes of memory and nostalgia, revealing recurring patterns and contrasts between past and present experiences.
Deconstruction	Challenges binary oppositions and hierarchical structures within the text, emphasizing ambiguity and instability of meaning.	The story’s ambiguous ending challenges readers’ expectations and invites them to question the stability of narrative closure, highlighting the inherent ambiguity and complexity of human relationships and experiences.
Postmodernism	Embraces fragmentation, intertextuality, and metafiction, questioning traditional narrative forms and authority.	Nabokov’s play with language, temporal shifts, and self-reflexivity in “Spring in Fialta” exemplifies postmodernist techniques, challenging linear storytelling and inviting readers to engage with the text on multiple levels of interpretation.

Topics, Questions, and Thesis Statements about “Spring in Fialta” by Vladimir Nabokov

Topic	Question	Thesis Statement
Loss and Regret	How does the story portray the impact of loss and unfulfilled desires on Victor?	Reunited with Nina in Fialta, Victor grapples with a deep sense of loss and regret over their unfulfilled youthful love, intensified by the suddenness of her death.
Memory and the Past	How does Nabokov utilize memory in the story?	Nabokov employs vivid flashbacks filled with sensory details to transport Victor back to his passionate past with Nina. These memories shape his perception of the present and fuel his longing for what could have been.

Short Questions/Answers about/on “Spring in Fialta” by Vladimir Nabokov

1. What is the significance of the setting in “Spring in Fialta”? The setting of Fialta serves as more than just a backdrop; it embodies a sense of nostalgia and longing. Nabokov’s rich descriptions evoke the damp, misty atmosphere of the town, imbuing it with a dreamlike quality that mirrors the narrator’s introspective journey. For example, when the narrator describes Fialta as “cloudy and dull” with “everything… damp,” it not only sets the scene but also reflects the emotional tone of the story, highlighting the melancholic beauty of the protagonist’s reminiscences.
2. How does Nabokov characterize the relationship between the narrator and Nina? The relationship between the narrator and Nina is portrayed as complex and emotionally charged, filled with longing and unresolved feelings. Despite the passage of time, their connection remains strong, tinged with both affection and melancholy. For instance, Nina’s spontaneous gesture of kissing the narrator three times upon their reunion illustrates the familiarity and intimacy between them, while also hinting at the bittersweet nature of their relationship, which seems to transcend the constraints of time and circumstance.
3. What role does memory play in the narrative? Memory is a central theme in “Spring in Fialta,” shaping the narrator’s perception of the past and influencing his present experiences. Throughout the story, the narrator reflects on past encounters with Nina and reminisces about their shared history, weaving together fragments of memory to construct a narrative of longing and regret. These memories are often triggered by sensory experiences in the present, such as the sights and sounds of Fialta, adding depth and poignancy to the storytelling. For example, the narrator’s encounter with Nina prompts him to revisit their initial meeting in Russia, highlighting the persistent grip of memory on his consciousness.
4. How does Nabokov employ narrative structure to convey the story’s themes? Nabokov employs a non-linear narrative structure, incorporating temporal shifts and flashbacks to convey the narrator’s fragmented recollections and emotional turmoil. This structure mirrors the fluid nature of memory itself, as the narrator drifts between past and present, weaving together disparate moments into a cohesive narrative. For instance, the narrator’s introspective musings on his relationship with Nina are interspersed with vivid descriptions of the town of Fialta, creating a layered narrative that blurs the boundaries between memory and reality, past and present.

Literary Works Similar to “Spring in Fialta” by Vladimir Nabokov

1. “The Garden Party” by Katherine Mansfield: This short story, like “Spring in Fialta,” explores themes of social class, memory, and the complexities of human relationships. Set against the backdrop of a lavish garden party, Mansfield delves into the emotional turmoil experienced by the protagonist as she grapples with the realities of life and death.
2. “A Perfect Day for Bananafish” by J.D. Salinger: Salinger’s story examines themes of alienation, existential angst, and the search for connection. Like Nabokov, Salinger employs precise language and rich imagery to evoke a sense of melancholy and longing in his characters.
3. “The Swimmer” by John Cheever: Cheever’s story follows the journey of a man who decides to swim his way home through a series of suburban pools. Through this surreal journey, Cheever explores themes of identity, disillusionment, and the passage of time, much like Nabokov does in “Spring in Fialta.”
4. “The Dead” by James Joyce: Joyce’s classic short story, part of his collection “Dubliners,” delves into themes of mortality, memory, and the passage of time. Set during a winter gathering in Dublin, “The Dead” offers a profound meditation on the nature of life and death, much like Nabokov’s exploration of memory and nostalgia.
5. “The Secret Life of Walter Mitty” by James Thurber: Thurber’s story follows the daydreams of an ordinary man as he escapes into a world of fantasy and adventure. Like “Spring in Fialta,” “The Secret Life of Walter Mitty” blurs the line between reality and imagination, exploring themes of longing and the desire for escape.

Suggested Readings about/on “Spring in Fialta” by Vladimir Nabokov

Scholarly Books

• Boyd, Brian. Vladimir Nabokov: The Russian Years. Cornell University Press, 1990.
• Field, Andrew. Vladimir Nabokov: His Life in Art. Alfred A. Knopf, 2007.
• Nabokov, Vladimir. The Stories of Vladimir Nabokov. Edited by Dmitri Nabokov, Vintage Books, 1995.

Academic Articles

• Green, Geoffrey. “Nabokov’s Signs of Reference, Symbols of Design.” College Literature, vol. 7, no. 2, 1980, pp. 104–12. JSTOR, http://www.jstor.org/stable/25111321. Accessed 25 Apr. 2024.
• Berlina, Alexandra. “Fantastic Polyvalence beyond Dichotomies: ‘The Snow Queen’ and ‘The Snow Child.’” Journal of the Fantastic in the Arts, vol. 26, no. 2 (93), 2015, pp. 236–50. JSTOR, http://www.jstor.org/stable/26321111. Accessed 25 Apr. 2024

Online Resources

• The Vladimir Nabokov Society. https://thenabokovian.org/help
• The Nabokov Museum. https://english.spbu.ru/

Representative Quotations from “Spring in Fialta” by Vladimir Nabokov

Quotation	Context	Theorization
“Spring in Fialta is cloudy and dull. Everything is damp: the piebald trunks of the plane trees, the juniper shrubs, the railings, the gravel.”	The opening line sets the atmospheric tone of the story, establishing the setting of Fialta as dreary and saturated with moisture.	This quotation highlights the role of setting in establishing mood and atmosphere, inviting readers to immerse themselves in the evocative landscape of Fialta and foreshadowing the melancholic tone of the narrative.
“I had just graduated from the Imperial Lyceum; Nina was already engaged: although she was of my age and of that of the century, she looked twenty at least…”	The narrator reminisces about his first encounter with Nina, describing her youthful appearance and the circumstances of their initial meeting.	This quotation provides insight into the narrator’s perception of Nina and hints at the complexity of their relationship, suggesting themes of youth, nostalgia, and the passage of time.
“Every time I had met her during the fifteen years of our – well, I fail to find the precise term for our kind of relationship – she had not seemed to recognize me at once…”	The narrator reflects on the nature of his relationship with Nina, expressing uncertainty about its classification and noting Nina’s tendency to initially not recognize him upon their encounters.	This quotation underscores the ambiguity surrounding the narrator’s relationship with Nina and hints at themes of memory, identity, and the fluidity of human connections.
“Presently the same Englishman overtook me. As I absorbed him along with the rest, I happened to notice the sudden side-roll of his big blue eye straining at its crimson canthus…”	The narrator observes an Englishman’s peculiar behavior as he walks through Fialta, noting his furtive glances and nervous gestures.	This quotation captures the narrator’s acute powers of observation and his tendency to analyze the behavior of those around him, suggesting themes of perception, social interaction, and the complexities of human behavior.
“‘Oh, yes, Ferdie is here too,’ she replied and immediately in her turn inquired nicely after Elena.”	Nina mentions her husband, Ferdie, in passing, and then shifts the conversation to inquire about the narrator’s wife, Elena.	This quotation reveals the dynamic between Nina and the narrator, hinting at the complexities of their relationship within the context of their respective marriages and suggesting themes of loyalty, fidelity, and the boundaries of friendship and romantic attachment.
“‘Must be loafing somewhere around with Segur,’ she went on in reference to her husband. ‘And I have some shopping to do; we leave after lunch. Wait a moment, where are you leading me, Victor dear?’”	Nina casually discusses her plans with the narrator, indicating her familiarity and comfort with him.	This quotation underscores the intimacy and ease of communication between Nina and the narrator, highlighting the closeness of their relationship and suggesting themes of companionship, shared history, and the blurring of boundaries between friendship and romance.
“Back into the past, back into the past, as I did every time I met her, repeating the whole accumulation of the plot from the very beginning up to the last increment…”	The narrator reflects on his tendency to revisit past memories and experiences whenever he encounters Nina, retracing their shared history in his mind.	This quotation emphasizes the role of memory and nostalgia in shaping the narrator’s interactions with Nina, suggesting themes of longing, regret, and the enduring power of the past to influence the present.
“My introductory scene with Nina had been laid in Russia quite a long time ago, around 1917 I should say, judging by certain left-wing theater rumblings backstage.”	The narrator recalls his first meeting with Nina in Russia, providing context for their relationship and hinting at historical events that shaped their lives.	This quotation situates the narrative within a specific historical and cultural context, inviting readers to consider the broader social and political backdrop against which the characters’ personal experiences unfold.
“Windows light up and stretch their luminous lengths upon the dark billowy snow, making room for the reflection of the fan-shaped light above the front door between them.”	The narrator describes the visual spectacle of illuminated windows against the backdrop of a snowy landscape, creating a vivid image of light and shadow.	This quotation showcases Nabokov’s descriptive prowess and his ability to evoke sensory imagery, inviting readers to visualize the scene and immerse themselves in the richly detailed world of the narrative.
“I walked last; three singing steps ahead of me walked a small bent shape; the firs gravely showed their burdened paws.”	The narrator recalls a specific moment from his past, recounting a scene from a winter night spent with Nina.	This quotation captures the narrator’s nostalgia for past experiences and his ability to vividly recall sensory details, suggesting themes of memory, longing, and the passage of time.