Природные мотивы в романе Владимира Набокова "Дар", как средство деавтоматизации

On one side of the opposition in the novel The Gift there is the area of mechanical—gray existence, a black-and-white mechanism that kills all sorts of mobility and variety. Before the reader is the line of the order closed in a circle of automatism (an alien, an emigrant in Berlin). And on the other hand, the opposition outlines the image of something mobile, still unnamed, spontaneous, without any authority, which leads to the deautomation of the world and life and transfers the meaning to something unexpected, unknown. The natural images of Asia support those lines of the novel The Gift which are based on playfulness, understatement, mystery, ambiguity, mobility, metamorphosis, spontaneity, unprespeakability, multi-image. The natural motifs form not only an exotic environment, but, above all, a new, just giving rise to a perception of reality as a mystery, something vague and constantly changing. Through these ambiguity images the protagonist personifies himself. In the novel The Gift the variable face of reality and illusion of reality occupies the important place. And this interaction of reality, fantasy and illusion is caused by the all-present principle of the game. That is the point we would like to emphasize in understanding the Asiatic motifs of the novel The Gift. Natural motifs are included in that part of the figurative system of Nabokov's novels which create the idea of novel's reality as infinitely born diverse alternative. The novel here takes the form of multifaceted thinking about mirages, dualism, mimicry, variability and mobility. Through the principle of constantly hinting and emerging alternatives, the eternally disconnected reality of the human world is paradoxically united.