์ด๋ฏธ์ง€ ์„ค๋ช…์„ ํ•˜์ž๋ฉด 1. ๋‚˜๋ณด์ฝ”ํ”„ ์ž์งค 2. ๋‹ซํ˜€์ ธ ์žˆ๋Š” ์™ธ๋ถ€ ํŒ๋„ฌ 3. ๋‚ด๋ถ€ ํŒ๋„ฌ ์™ผ์ชฝ: ์—๋ด ๋™์‚ฐ 4. ๋‚ด๋ถ€ ํŒ๋„ฌ ์ค‘์‹ฌ: ์„ธ์†์ ์ธ ๋‚˜๋ผ 5. ๋‚ด๋ถ€ ํŒ๋„ฌ ์˜ค๋ฅธ์ชฝ: ์ง€์˜ฅ 6. ๋‚ด๋ถ€ ํŒ๋„ฌ ๋‹ค ํ•ฉ์นœ ๋ฒ„์ „ 7. ์™ธ๋ถ€+๋‚ด๋ถ€ ํŒ๋„ฌ.

many visual artists evoked in Ada, none is as central to the novel as the Dutch painter Hieronymus Bosch (1450-1516). The novel refers to three of his paintings directly, The Ship of Fools, The Last Judgment and The Garden of Earthly Delights, and allusions to the latter are woven into Ada from the largest level of design to the smallest detail of the painting; indeed, Nabokov referred in an interview to โ€˜the Garden of Delights in Adaโ€™ (SO 306). Ada's emphasis on the planets, Antiterra and Terra, in a sense mirrors Bosch's outer panels depicting the creation of the world, while events within Ada mirror the three inner panels, depicting Eden and the Fall, a fecund Garden paradise of sensual indulgence, and a Hell of demons, violence and cruelty. Allusions to Bosch also relate to important aspects of characterisation. Ada's critique of Bosch's incorrectly depicted Tortoiseshell butterfly demonstrates her interest in Lepidoptera and her attention to biological detail, Demon's interpretation of the sexual delights in the central panel highlights his libertinism, and Van uses the triptych as an analogy in his exploration of time.

์ž‘ํ’ˆ <์•„๋‹ค ํ˜น์€ ์—ด์ •>์—๋Š” ๋งŽ์€ ์‹œ๊ฐ์  ์˜ˆ์ˆ ๊ฐ€๋“ค์ด ์–ธ๊ธ‰๋˜์—ˆ์ง€๋งŒ, ๋„ค๋œ๋ž€๋“œ์˜ ํ™”๊ฐ€ ํžˆ์—๋กœ๋‹ˆ๋ฌด์Šค ๋ณด์‰ฌ (1450-1516)๋งŒํผ ์ค‘์š”ํ•œ ์ค‘์‹ฌ์€ ์—†๋‹ค. ์ด ์†Œ์„ค์€ '๋ฐ”๋ณด๋“ค์˜ ๋ฐฐ', '์ตœํ›„์˜ ์‹ฌํŒ', '์„ธ์†์ ์ธ ์พŒ๋ฝ์˜ ๋™์‚ฐ' ๋“ฑ (๋ณด์‰ฌ์˜) ์„ธ ์ž‘ํ’ˆ์„ ์ง์ ‘์ ์œผ๋กœ ์–ธ๊ธ‰ํ•˜๊ณ  ์žˆ์œผ๋ฉฐ, ๊ทธ์ค‘์—์„œ๋„ โ€˜์„ธ์†์ ์ธ ์พŒ๋ฝ์˜ ๋™์‚ฐโ€™์— ๋Œ€ํ•œ ์•”์‹œ๋“ค์€ <์•„๋‹ค> ๋‚ด์—์„œ ๊ฐ€์žฅ ๊ฑฐ๋Œ€ํ•œ ๋””์ž์ธ๋ถ€ํ„ฐ ๊ฐ€์žฅ ์ž‘์€ ๋””ํ…Œ์ผ๊นŒ์ง€ ์„ธ๋ฐ€ํ•˜๊ฒŒ ์—ฎ์–ด์ ธ ์žˆ๋‹ค. ์‹ค์ œ๋กœ ๋‚˜๋ณด์ฝ”ํ”„๋Š” '์•„๋‹ค ์พŒ๋ฝ์˜ ์ •์›'์ด๋ผ๋Š” ์ธํ„ฐ๋ทฐ์—์„œ ์ด์— ๋Œ€ํ•˜์—ฌ ์–ธ๊ธ‰ํ•˜์˜€๋Š”๋ฐ, ์ž‘ํ’ˆ์—์„œ ๊ฐ•์กฐํ•˜๋Š” ํ–‰์„ฑ ์•ˆํ‹ฐํ…Œ๋ผ์™€ ํ…Œ๋ผ๋Š” ์–ด๋–ค ์˜๋ฏธ์—์„œ ๋ณด์‰ฌ์˜ ์„ธ๊ณ„ ์ฐฝ์กฐ๋ฅผ ๋ฌ˜์‚ฌํ•˜๋Š” ์™ธ๋ถ€ ํŒ๋„ฌ์„ ๋ฐ˜์˜ํ•˜๋Š” ๋ฐ˜๋ฉด, <์•„๋‹ค> ๋‚ด์—์„œ์˜ ์‚ฌ๊ฑด๋“ค์€ ๊ด€๋Šฅ์ ์ธ ํƒ๋‹‰์˜ ์ •์›๊ณผ ์•…๋งˆ, ํญ๋ ฅ, ์ž”์ธํ•จ์œผ๋กœ ๋Œ€๋ณ€๋˜๋Š” ์ง€์˜ฅ์„ ๋ฌ˜์‚ฌํ•˜๊ธฐ ์œ„ํ•ด ์„ธ ๊ฐœ๋กœ ๋‚˜๋ˆ„์–ด์ ธ ์žˆ๋Š” ๋‚ด๋ถ€์˜ ํŒ๋„ฌ์„ ๋ฐ˜์˜ํ•œ๋‹ค. ๋ณด์‰ฌ์— ๋Œ€ํ•œ ์–ธ๊ธ‰์€ ์บ๋ฆญํ„ฐ์— ๋Œ€ํ•œ ํŠน์„ฑ์—๋„ ๊ต‰์žฅํžˆ ์ค‘์š”ํ•œ ์ธก๋ฉด์„ ์ง€๋‹ˆ๊ณ  ์žˆ๋‹ค. ๋ณด์‰ฌ์˜ ๊ทธ๋ฆผ ์† ๊ทธ๊ฐ€ ์ž˜๋ชป ๋ฌ˜์‚ฌํ•œ ๊ฑฐ๋ถ ๋‚˜๋น„์— ๋Œ€ํ•œ ์•„๋‹ค(<์•„๋‹ค> ๋‚ด ์บ๋ฆญํ„ฐ ์ด๋ฆ„)์˜ ๋น„ํ‰์€ ๋‚˜๋น„ํ•™์— ๋Œ€ํ•œ ๊ทธ๋…€์˜ ์ง‘์š”ํ•œ ๊ด€์‹ฌ ๋ฐ ์ƒ๋ฌผํ•™์  ์„ธ๋ถ€์‚ฌํ•ญ์— ๋Œ€ํ•œ ๊ด€์‹ฌ์„ ๋ณด์—ฌ์ฃผ๋ฉฐ, ์ค‘์•™ ํŒ์—์„œ์˜ ์„ฑ์  ์ฆ๊ฑฐ์›€์— ๋Œ€ํ•œ ์•…๋งˆ(๋นˆ: <์•„๋‹ค> ๋‚ด ์บ๋ฆญํ„ฐ ์ด๋ฆ„)์˜ ํ•ด์„์€ ๊ทธ์˜ ์ž์œ  ์ง€์ƒ์ฃผ์˜๋ฅผ ๊ฐ•์กฐํ•˜๋ฉฐ, ๋ฐ˜(<์•„๋‹ค> ๋‚ด ์บ๋ฆญํ„ฐ ์ด๋ฆ„)์€ ์‹œ๊ฐ„์˜ ํƒ๊ตฌ์— ๋Œ€ํ•œ ์œ ์ถ”๋ฅผ ์‚ผ๋ฉด์œผ๋กœ ์ด๋ฃจ์–ด์ง„ ํšŒํ™”(๋ณด์‰ฌ์˜ ์„ธ์†์ ์ธ ์พŒ๋ฝ์˜ ๋™์‚ฐ์„ ์•”์‹œ)๋ฅผ ์‚ฌ์šฉํ•œ๋‹ค.

โ€”์ผ€์ž„๋ธŒ๋ฆฌ์ง€ ์ถœํŒ Nabokov and the Art of Painting ๋ฐœ์ทŒ.

์—ฌ๋‹ด์œผ๋กœ ๋‚˜๋น„๊ฐ€ ์ œ์ผ ์ข‹์•„ํ•˜๋Š” ํ™”๊ฐ€๋Š” ๋ ˆ์˜ค๋‚˜๋ฅด๋„ ๋‹ค๋นˆ์น˜ ๊ทธ๋ฆฌ๊ณ  ํžˆ์—๋กœ๋‹ˆ๋ฌด์Šค ๋ณด์‰ฌ๋ผ๊ณ  ํ•œ๋‹ค.