At the end of Canto Three of his poem John Shade (the poet in VN’s novel Pale Fire, 1962) mentions ivory unicorns and ebony fauns:
It did not matter who they were. No sound,
No furtive light came from their involute
Abode, but there they were, aloof and mute,
Playing a game of worlds, promoting pawns
To ivory unicorns and ebony fauns;
Kindling a long life here, extinguishing
A short one there; killing a Balkan king;
Causing a chunk of ice formed on a high-
Flying airplane to plummet from the sky
And strike a farmer dead; hiding my keys,
Glasses or pipe. Coordinating these
Events and objects with remote events
And vanished objects. Making ornaments
Of accidents and possibilities.
Stormcoated, I strode in: Sybil, it is
My firm conviction – " Darling, shut the door.
Had a nice trip?" Splendid – but what is more
I have returned convinced that I can grope
My way to some – to some – "Yes, dear?" Faint hope. (ll. 816-835)
According to Kinbote (Shade’s mad commentator who imagines that he is Charles the Beloved, the last self-exiled king of Zembla), a beautiful woman should be like a compass rose of ivory with four parts of ebony:
Since her final departure from Zembla he had visited her twice, the last time two years before; and during that lapse of time her pale-skin, dark-hair beauty had acquired a new, mature and melancholy glow. In Zembla, where most females are freckled blondes, we have the saying: belwif ivurkumpf wid spew ebanumf, "A beautiful woman should be like a compass rose of ivory with four parts of ebony." And this was the trim scheme nature had followed in Disa's case. There was something else, something I was to realize only when I read Pale Fire, or rather reread it after the first bitter hot mist of disappointment had cleared before my eyes. I am thinking of lines 261-267 in which Shade describes his wife. At the moment of his painting that poetical portrait, the sitter was twice the age of Queen Disa. I do not wish to be vulgar in dealing with these delicate matters but the fact remains that sixty-year-old Shade is lending here a well-conserved coeval the ethereal and eternal aspect she retains, or should retain, in his kind noble heart. Now the curious thing about it is that Disa at thirty, when last seen in September 1958, bore a singular resemblance not, of course, to Mrs. Shade as she was when I met her, but to the idealized and stylized picture painted by the poet in those lines of Pale Fire. Actually it was idealized and stylized only in regard to the older woman; in regard to Queen Disa, as she was that afternoon on that blue terrace, it represented a plain unretouched likeness. I trust the reader appreciates the strangeness of this, because if he does not, there is no sense in writing poems, or notes to poems, or anything at all. (note to Lines 433-434)
At the beginning of Canto Four Shade mentions beauty:
Now I shall spy on beauty as none has
Spied on it yet. Now I shall cry out as
None has cried out. Now I shall try what none
Has tried. Now I shall do what none has done. (ll. 835-838)
In his essay Simvoly krasoty u russkikh pisateley (“The Symbols of Beauty in the Works of Russian Writers”) included in “The Second Book of Reflections” (1909) I. Annenski says that Stendhal somewhere calls beauty “the promise of happiness:”
Стендаль где-то назвал красоту обещанием счастья (la promesse de bonheur). В этом признании и можно найти один из ключей к пониманию поэтической концепции красоты вообще. Красота для поэта есть или красота женщины, или красота как женщина. (I)
According to Annenski, for a poet beauty is either the beauty of a woman or beauty as a woman. In a footnote to his treatise De l'amour ("On Love," 1822) Stendhal says: La beauté est une promesse de bonheur (Beauty is a promise of happiness).
In a letter of August 24, 1831, to Pushkin Vyazemski says that he allows Pushkin (who recently married Natalia Goncharov, a Moscow beauty) to kiss his sokurnosaya bel’-syorka (“my belle-sœur who is, like me, snub-nosed”) and asks Pushkin if he has read Stendhal’s novel Le Rouge et le Noir (“The Red and the Black,” 1830):
Знаешь ли, слухи носятся, что ты очень ревнив? Я, если жена твоя не ревнива, позволяю тебе поцаловать мою сокурносую бель-сёрку. Она отказаться не может, ибо знает мои права над нею. - Читал ли ты le noir et le rouge? Замечательное творение.
Stendhal is the author Le Rose et le Vert (“The Pink and the Green,” 1837), a novel that remained unfinished. Describing a conversation at the Faculty Club, Kinbote calls a professor of physics "Pink:"
A professor of physics now joined in. He was a so-called Pink, who believed in what so-called Pinks believe in (Progressive Education, the Integrity of anyone spying for Russia, Fall-outs occasioned solely by US-made bombs, the existence in the near past of a McCarthy Era, Soviet achievements including Dr. Zhivago, and so forth): "Your regrets are groundless" [said he]. "That sorry ruler is known to have escaped disguised as a nun; but whatever happens, or has happened to him, cannot interest the Zemblan people. History has denounced him, and that is his epitaph."
Shade: "True, sir. In due time history will have denounced everybody. The King may be dead, or he may be as much alive as you and Kinbote, but let us respect facts. I have it from him [pointing to me] that the widely circulated stuff about the nun is a vulgar pro-Extremist fabrication. The Extremists and their friends invented a lot of nonsense to conceal their discomfiture; but the truth is that the King walked out of the palace, and crossed the mountains, and left the country, not in the black garb of a pale spinster but dressed as an athlete in scarlet wool."
"Strange, strange," said the German visitor, who by some quirk of alderwood ancestry had been alone to catch the eerie note that had throbbed by and was gone.
Shade [smiling and massaging my knee]: "Kings do not die--they only disappear, eh, Charles?"
"Who said that?" asked sharply, as if coming out of a trance, the ignorant, and always suspicious, Head of the English Department.
"Take my own case," continued my dear friend ignoring Mr. H. "I have been said to resemble at least four people: Samuel Johnson; the lovingly reconstructed ancestor of man in the Exton Museum; and two local characters, one being the slapdash disheveled hag who ladles out the mash in the Levin Hall cafeteria."
"The third in the witch row," I precised quaintly, and everybody laughed.
"I would rather say," remarked Mr. Pardon--Americna History--"that she looks like Judge Goldsworth" ("One of us," interposed Shade inclining his head), "especially when he is real mad at the whole world after a good dinner."
"I heard," hastily began Netochka, "that the Goldsworths are having a wonderful time--"
"What a pity I cannot prove my point," muttered the tenacious German visitor. "If only there was a picture here. Couldn't there be somewhere--"
"Sure," said young Emerald and left his seat.
Professor Pardon now spoke to me: "I was under the impression that you were born in Russia, and that your name was a kind of anagram of Botkin or Botkine?"
Kinbote: "You are confusing me with some refugee from Nova Zembla [sarcastically stressing the "Nova"].
"Didn't you tell me, Charles, that kinbote means regicide in your language?" asked my dear Shade.
"Yes, a king's destroyer," I said (longing to explain that a king who sinks his identity in the mirror of exile is in a sense just that).
Shade [addressing the German visitor]: "Professor Kinbote is the author of a remarkable book on surnames. I believe [to me] there exists an English translation?"
"Oxford, 1956," I replied.
"You do know Russian, though?" said Pardon. "I think I heard you, the other day, talking to--what's his name--oh, my goodness" [laboriously composing his lips].
Shade: "Sir, we all find it difficult to attack that name" [laughing].
Professor Hurley: "Think of the French word for 'tire': punoo."
Shade: "Why, sir, I am afraid you have only punctured the difficulty" [laughing uproariously].
"Flatman," quipped I. "Yes," I went on, turning to Pardon, "I certainly do speak Russian. You see, it was the fashionable language par excellence, much more so than French, among the nobles of Zembla at least, and at its court. Today, of course, all this has changed. It is now the lower clases who are forcibly taught to speak Russian."
"Aren't we, too trying to teach Russian in our schools?" said Pink.
In the meantime, at the other end of the room, young Emerald had been communing with the bookshelves. At this point he returned with the T-Z volume of an illustrated encyclopedia.
"Well," said he, "here he is, that king. But look, he is young and handsome" ("Oh, that won't do," wailed the German visitor.) "Young, handsome, and wearing a fancy uniform," continued Emerald. "Quite the fancy pansy, in fact."
"And you," I said quietly, "are a foul-minded pup in a cheap green jacket."
"But what have I said?" the young instructor inquired of the company, spreading out his palms like a disciple in Leonardo's Last Supper.
"Now, now," said Shade. "I'm sure, Charles, are young friend never intended to insult your sovereign and namesake."
"He could not, even if he had wished," I observed placidly, turning it all into a joke.
Gerald Emerald extended his hand--which at the moment of writing still remains in that position. (note to Line 894)
Duchess of Payn, of Great Payn and Mone, Queen Disa seems to be a cross between Leonardo’s Mona Lisa and Desdemona, Othello’s wife in Shakespeare’s Othello. At the beginning of a poem that he contributed to the school magazine Victor Wind (in VN’s novel Pnin, 1957, Liza Bogolepov’s son who imagines that his father is a king) mentions Mona Lisa’s nun-pale lips that Leonardo had made so red:
Leonardo! Strange diseases
strike at madders mixed with lead:
nun-pale now are Mona Lisa's
lips that you had made so red. (Chapter Four, 5)
While Sybil Shade (the poet's wife who lives in the frame house between Goldsworth and Wordsmith on its square of green) is a green chess queen, Queen Disa (the wife of Charles the Beloved) is a red queen. Describing the king's escape from Zembla, Kinbote mentions a single sail dyed a royal red:
It was a lovely breezy afternoon with a western horizon like a luminous vacuum that sucked in one's eager heart. The King, now at the most critical point of his journey, looked about him, scrutinizing the few promenaders and trying to decide which of them might be police agents in disguise, ready to pounce upon him as soon as he vaulted the parapet and made for the Rippleson Caves. Only a single sail dyed a royal red marred with some human interest the marine expanse. Nitra and Indra (meaning "inner" and "outer"), two black islets that seemed to address each other in cloaked parley, were being photographed from the parapet by a Russian tourist, thickset, many-chinned, with a general's fleshy nape. His faded wife, wrapped up floatingly in a flowery écharpe, remarked in singsong Moscovan "Every time I see that kind of frightful disfigurement I can't help thinking of Nina's boy. War is an awful thing." "War?" queried her consort. "That must have been the explosion at the Glass Works in 1951 - not war." They slowly walked past the King in the direction he had come from. On a sidewalk bench, facing the sea, a man with his crutches beside him was reading the Onhava Post which featured on the first page Odon in an Extremist uniform and Odon in the part of the Merman. Incredible as it may seem the palace guard had never realized that identity before. Now a goodly sum was offered for his capture. Rhythmically the waves lapped the shingle. The newspaper reader's face had been atrociously injured in the recently mentioned explosion, and all the art of plastic surgery had only resulted in a hideous tessellated texture with parts of pattern and parts of outline seeming to change, to fuse or to separate, like fluctuating cheeks and chins in a distortive mirror. (note to Line 149)
In the second stanza of his poem Parus ("The Sail," 1832) Lermontov mentions schastie (happiness):
Белеет парус одинокий
В тумане моря голубом!..
Что ищет он в стране далекой?
Что кинул он в краю родном?..
Играют волны - ветер свищет,
И мачта гнется и скрыпит...
Увы, - он счастия не ищет
И не от счастия бежит!
Под ним струя светлей лазури,
Над ним луч солнца золотой...
А он, мятежный, просит бури,
Как будто в бурях есть покой!
lonely sail is flashing white
Amdist the blue mist of the sea!...
What does it seek in foreign lands?
What did it leave behind at home?..
Waves heave, wind whistles,
The mast, it bends and creaks...
Alas, it seeks not happiness
Nor happiness does it escape!
Below, a current azure bright,
Above, a golden ray of sun...
Rebellious, it seeks out a storm
As if in storms it could find peace!
In her translation of Pale Fire Vera Nabokov renders The Merman (an old melodrama in which the king's friend Odon plays the principal part) as Vodyanoy. Vodyanoy brings to mind vodyanoe obshchestvo (the spa society) mentioned by Pechorin at the beginning of Knyazhna Meri (Princess Mary), the fourth novella in Lermontov’s Geroy nashego vremeni (“A Hero of Our Time,” 1840):
11-го мая.
Вчера я приехал в Пятигорск, нанял квартиру на краю города, на самом высоком месте, у подошвы Машука: во время грозы облака будут спускаться до моей кровли. Нынче в пять часов утра, когда я открыл окно, моя комната наполнилась запахом цветов, растущих в скромном палисаднике. Ветки цветущих черешен смотрят мне в окна, и ветер иногда усыпает мой письменный стол их белыми лепестками. Вид с трех сторон у меня чудесный. На запад пятиглавый Бешту синеет, как «последняя туча рассеянной бури»; на север поднимается Машук, как мохнатая персидская шапка, и закрывает всю эту часть небосклона; на восток смотреть веселее: внизу передо мною пестреет чистенький, новенький городок, шумят целебные ключи, шумит разноязычная толпа, — а там, дальше, амфитеатром громоздятся горы всё синее и туманнее, а на краю горизонта тянется серебряная цепь снеговых вершин, начинаясь Казбеком и оканчиваясь двуглавым Эльборусом… Весело жить в такой земле! Какое-то отрадное чувство разлито во всех моих жилах. Воздух чист и свеж, как поцелуй ребенка; солнце ярко, небо сине — чего бы, кажется, больше? — зачем тут страсти, желания, сожаления?.. Однако пора. Пойду к Елизаветинскому источнику: там, говорят, утром собирается всё водяное общество.
May 11
Yesterday I arrived in Pyatigorsk and rented quarters in the outskirts at the foot of Mount Mashuk; this is the highest part of the town, so high that the clouds will reach down to my roof during thunderstorms. When I opened the window at five o'clock this morning the fragrance of the flowers growing in the modest little front garden flooded my room. The flower-laden branches of the cherry trees peep into my windows, and now and then the wind sprinkles my writing desk with the white petals. I have a marvelous view on three sides. Five-peaked Beshtau looms blue in the west like "the last cloud[81] of the storm blown over. " In the north rises Mashuk like a shaggy Persian cap, concealing this part of the horizon. To the east the view is more cheerful: down below, the clean new town spreads colorfully before me, the medicinal fountains babble, and so do the multilingual crowds. Further in the distance the massive amphitheater of mountains grows ever bluer and mistier, while on the fringe of the horizon stretches the silvery chain of snow-capped peaks beginning with Kazbek and ending with twin-peaked Elbrus. .. It is a joy to live in a place like this! A feeling of elation flows in all my veins. The air is pure and fresh like the kiss of a child, the sun is bright and the sky blue-what more could one desire? What place is there here for passions, yearnings and regrets? But it's time to go. I'll walk down to Elizabeth Spring, where they say the spa society congregates in the mornings.
In his Commentary Kinbote compares himself to Pechorin and to Marcel (the main character and narrator in Proust's À la recherche du temps perdu):
Windows, as well known, have been the solace of first-person literature throughout the ages. But this observer never could emulate in sheer luck the eavesdropping Hero of Our Time or the omnipresent one of Time Lost. (note to Lines 47-48)
In his poem Net, ne tebya tak pylko ya lyublyu… (“No, it is not you I love so ardently…” 1841) Lermontov addresses a young woman and says that he loves in her a past suffering and his perished youth:
Нет, не тебя так пылко я люблю,
Не для меня красы твоей блистанье;
Люблю в тебе я прошлое страданье
И молодость погибшую мою.
Когда порой я на тебя смотрю,
В твои глаза вникая долгим взором:
Таинственным я занят разговором,
Но не с тобой я сердцем говорю.
Я говорю с подругой юных дней,
В твоих чертах ищу черты другие,
В устах живых уста давно немые,
В глазах огонь угаснувших очей.
No, it is not you I love so ardently,
And the splendor of your beauty is not for me:
I love in you a past suffering
And my perished youth.
When at times I look at you,
Penetrating your eyes with a long stare:
Secretly, I am occupied in conversation,
But it is not with you that I speak with my heart.
I converse with a friend of my youth;
In your features I seek the features of another;
In your living lips I seek lips long mute,
In your eyes I seek the fire of extinguished eyes.
In his poem Net, ya ne Bayron, ya drugoy… (“No, I’m not Byron, I’m another…” 1832) Lermontov compares his soul to the ocean in which nadezhd razbitykh gruz (a load of broken hopes) lies:
Нет, я не Байрон, я другой,
Ещё неведомый избранник,
Как он, гонимый миром странник,
Но только с русскою душой.
Я раньше начал, кончу ране,
Мой ум немного совершит;
В душе моей, как в океане,
Надежд разбитых груз лежит.
Кто может, океан угрюмый,
Твои изведать тайны? Кто
Толпе мои расскажет думы?
Я — или Бог — или никто!
No, I'm not Byron, I’m another
yet unknown chosen man,
like him, a persecuted wanderer,
but only with a Russian soul.
I started sooner, I will end sooner,
my mind won’t achieve much;
in my soul, as in the ocean,
lies a load of broken hopes.
Gloomy ocean, who can
find out your secrets? Who
will tell to the crowd my thoughts?
Myself – or God – or none at all!
The poem’s last word, nikto (nobody), was used by Lermontov in Line 13 of his poem 1830 god. Iyulya 15 (“July 15, 1830”) in which obshchestvo inoe (a different society) is mentioned:
Но в общество иное я вступил,
Узнал людей и дружеский обман,
Стал подозрителен и погубил
Беспечности душевный талисман.
Чтобы никто теперь не говорил:
Он будет друг мне! — боль старинных ран
Из груди извлечёт не речь, но стон;
И не привет, упрёк услышит он. (ll. 9-16)
Lermontov’s fatal duel with Martynov took place on July 15, 1841. The words bol’ (pain) and ston (moan) used by Lermontov in Lines 14 and 15 of his poem “July 15, 1830” bring to mind Gertsoginya Bol’stonskaya, as in her translation of Pale Fire Vera Nabokov renders “Duchess of Payn, of Great Payn and Mone” (Queen Disa’s title). Queen Disa and Sybil Shade seem to be one and the same person whose “real” name is Sofia Botkin (born Lastochkin). Lastochki ("The Swallows," 1884) is a poem by Afanasiy Fet (who was married to Maria Botkin). In his poem in octaves Student ("The Student," 1884) Fet mentions all the poets who had affected him and his friend Apollon Grigoriev: Lermontov, and Byron, and Musset:
Но, боже мой, как много чепухи
Болтали мы; как нам казались сладки
Поэты, нас затронувшие, все:
И Лермонтов, и Байрон, и Мюссе.
Lermontov is the author of Borodinio (1837). Before the battle of Borodino Napoleon said: "the chessmen are set up, the game will begin tomorrow!" Stendhal participated in Napoleon's invasion of Russia and witnessed the burning of Moscow from just outside the city. He was appointed Commissioner of War Supplies and sent to Smolensk to prepare provisions for the returning army.
In Lermontov's play in verse Maskarad ("The Masquerade," 1835) Arbenin goes mad after poisoning his innocent wife Nina. An American scholar of Russian descent, Professor Vsevolod Botkin went mad and became Shade, Kinbote and Gradus (the poet’s murderer) after the tragic death of his daughter Nadezhda (Hazel Shade's "real" name). Nadezhda means “hope.” There is a hope that, when Kinbote completes his work on Shade’s poem and commits suicide (on Oct. 19, 1959, the anniversary of Pushkin’s Lyceum), Botkin, like Count Vorontsov (a target of Pushkin’s epigrams, “half-milord, half-merchant, etc.”), will be full again.
While the stage name Odon recalls Lermontov's poem Vykhozhu odin ya na dorogu (“I go out on the road alone…” 1841), The Merman brings to mind Lermontov's poems Rusalka ("The Mermaid," 1832) and Morskaya tsarevna ("The Sea Princess," 1841). According to Pnin (the title character of VN's novel), Lermontov has expressed everything about mermaids in only two poems:
"All right, I'm afraid we are wandering away from our little joke. Now, you look at the picture. So this is the mariner, and this is the pussy, and this is a rather wistful mermaid hanging around, and now look at the puffs right above the sailor and the pussy."
"Atomic bomb explosion," said Pnin sadly.
"No, not at all. It is something much funnier. You see, these round puffs are supposed to be the projections of their thoughts. And now at last we are getting to the amusing part. The sailor imagines the mermaid as having a pair of legs, and the cat imagines her as all fish."
"Lermontov," said Pnin, lifting two fingers, "has expressed everything about mermaids in only two poems. I cannot understand American humor even when I am happy, and I must say--" He removed his glasses with trembling hands, elbowed the magazine aside, and, resting his head on his arm, broke into muffled sobs. (Chapter Two, 7)
During his heart attack Pnin remembers the date of the Great Moscow Fire--1812:
A sense of being late for some appointment as odiously exact as school, dinner, or bedtime added the discomfort of awkward haste to the difficulties of a quest that was grading into delirium. The foliage and the flowers, with none of the intricacies of their warp disturbed, appeared to detach themselves in one undulating body from their pale-blue background which, in its turn, lost its papery flatness and dilated in depth till the spectator's heart almost burst in response to the expansion. He could still make out through the autonomous garlands certain parts of the nursery more tenacious of life than the rest, such as the lacquered screen, the gleam of a tumbler, the brass knobs of his bedstead, but these interfered even less with the oak leaves and rich blossoms than would the reflection of an inside object in a window-pane with the outside scenery perceived through the same glass. And although the witness and victim of these phantasms was tucked up in bed, he was, in accordance with the twofold nature of his surroundings, simultaneously seated on a bench in a green and purple park. During one melting moment, he had the sensation of holding at last the key he had sought; but, coming from very far, a rustling wind, its soft volume increasing as it ruffled the rhododendrons--now blossomless, blind--confused whatever rational pattern Timofey Pnin's surroundings had once had. He was alive and that was sufficient. The back of the bench against which he still sprawled felt as real as his clothes, or his wallet, or the date of the Great Moscow Fire--1812. (Chapter One, 2)
Crossing the Atlantic from Europe to America, Pnin plays chess with the ship's German passenger:
Marriage hardly changed their manner of life except that she moved into Pnin's dingy apartment. He went on with his Slavic studies, she with her psychodramatics and her lyrical ovipositing, laying all over the place like an Easter rabbit, and in those green and mauve poems--about the child she wanted to bear, and the lovers she wanted to have, and St Petersburg (courtesy Anna Akhmatov)--every intonation, every image, every simile had been used before by other rhyming rabbits. One of her admirers, a banker, and straightforward patron of the arts, selected among the Parisian Russians an influential literary critic, Zhorzhik Uranski, and for a champagne dinner at the Ougolok had the old boy devote his next feuilleton in one of the Russian--language newspapers to an appreciation of Liza's muse on whose chestnut curls Zhorzhik calmly placed Anna Akhmatov's coronet, whereupon Liza burst into happy tears--for all the world like little Miss Michigan or the Oregon Rose Queen. Pnin, who was not in the know, carried about a folded clipping of that shameless rave in his honest pocket-book, naïvely reading out passages to this or that amused friend until it got quite frayed and smudgy. Nor was he in the know concerning graver matters, and in fact was actually pasting the remnants of' the review in an album when, on a December day in 1938, Liza telephoned from Meudon, saying that she was going to Montpellier with a man who understood her 'organic ego', a Dr Eric Wind, and would never see Timofey again. An unknown French woman with red hair called for Liza's things and said, well, you cellar rat, there is no more any poor lass to taper dessus--and a month or two later there dribbled in from Dr Wind a German letter of sympathy and apology assuring lieber Herr Pnin that he, Dr Wind, was eager to marry 'the woman who has come out of your life into mine.' Pnin of course would have given her a divorce as readily as he would his life, with the wet stems cut and a bit of fern, and all of it wrapped up as crisply as at the earth-smelling florist's when the rain makes grey and green mirrors of Easter day; but it transpired that in South America Dr Wind had a wife with a tortuous mind and a phony passport, who did not wish to be bothered until certain plans of her own took shape. Meanwhile, the New World had started to beckon Pnin too: from New York a great friend of his, Professor Konstantin Chateau, offered him every assistance for a migratory voyage. Pnin informed Dr Wind of his plans and sent Liza the last issue of an émigré magazine where she was mentioned on page 202. He was half-way through the dreary hell that had been devised by European bureaucrats (to the vast amusement of the Soviets) for holders of that miserable thing, the Nansen Passport (a kind of parolee's card issued to Russian émigrés), when one damp April day in 1940 there was a vigorous ring at his door and Liza tramped in, puffing and carrying before her like a chest of drawers a seven-month pregnancy, and announced, as she tore off her hat and kicked off her shoes, that it had all been a mistake, and from now on she was again Pnin's faithful and lawful wife, ready to follow him wherever he went--even beyond the ocean if need be. Those days were probably the happiest in Pnin's life--it was a permanent glow of weighty, painful felicity--and the vernalization of the visas, and the preparations, and the medical examination, with a deaf-and-dumb doctor applying a dummy stethoscope to Pnin's jammed heart through all his clothes, and the kind Russian lady (a relative of mine) who was so helpful at the American Consulate, and the journey to Bordeaux, and the beautiful clean ship--everything had a rich fairy-tale tinge to it. He was not only ready to adopt the child when it came but was passionately eager to do so, and she listened with a satisfied, somewhat cowish expression to the pedagogical plans he unfolded, for he actually seemed to forehear the babe's vagitus, and its first word in the near future. She had always been fond of sugar-coated almonds, but now she consumed fabulous quantities of them (two pounds between Paris and Bordeaux), and ascetic Pnin contemplated her greed with shakes and shrugs of delighted awe, and something about the smooth silkiness of those dragées remained in his mind, forever mingled with the memory of her taut skin, her complexion, her flawless teeth. It was a little disappointing that as soon as she came aboard she gave one glance at the swelling sea, said: 'Nu, eto izvinite' (Nothing doing), and promptly retired into the womb of the ship, within which, for most of the crossing, she kept lying on her back in the cabin she shared with the loquacious wives of the three laconic Poles--a wrestler, a gardener, and a barber--whom Pnin got as cabin mates. On the third evening of the voyage, having remained in the lounge long after Liza had gone to sleep, he cheerfully accepted a game of chess proposed by the former editor of a Frankfurt newspaper, a melancholy baggy-eyed patriarch in a turtle-neck sweater and plus fours. Neither was a good player; both were addicted to spectacular but quite unsound sacrifices of pieces; each was over-anxious to win; and the proceedings were furthermore enlivened by Pnin's fantastic brand of German ('Wenn Sie so, dann ich so, und Pferd fliegt'). Presently another passenger came up, said entschuldigen Sie, could he watch their game? And sat down beside them. He had reddish hair cropped close and long pale eyelashes resembling fish moths, and he wore a shabby double-breasted coat, and soon he was clucking under his breath and shaking his head every time the patriarch, after much dignified meditation, lurched forward to make a wild move. Finally this helpful spectator, obviously an expert, could not resist pushing back a pawn his compatriot had just moved, and pointed with a vibrating index to a rook instead--which the old Frankfurter incontinently drove into the armpit of Pnin's defence. Our man lost, of course, and was about to leave the lounge when the expert overtook him, saying entschuldigen Sie, could he talk for a moment to Herr Pnin? ('You see, I know your name,' he remarked parenthetically, lifting his useful index)--and suggested a couple of beers at the bar. Pnin accepted, and when the tankards were placed before them the polite stranger continued thus: 'In life, as in chess, it is always better to analyse one's motives and intentions. The day we came on board I was like a playful child. Next morning, however, I began already to fear that an astute husband--this is not a compliment, but a hypothesis in retrospection--would sooner or later study the passenger list. Today my conscience has tried me and found me guilty. I can endure the deception no longer. Your health. This is not at all our German nectar but it is better than Coca-Cola. My name is Dr Eric Wind; alas, it is not unknown to you.' (Chapter Two, 5)
The influential literary critic Zhorzhik Uranski blends Georgiy Adamovich (a hostile critic also known as Sodomovich) with Georgiy Ivanov, the author of an offensive article on Sirin in the Paris émigré review Chisla (“Numbers,” #1, 1930). In the last stanza of his poem Kak v Gretsiyu Bayron, o, bez sozhalen’ya… (“Like Byron to Greece, oh, without regret…” 1927) G. Ivanov mentions blednyi ogon’ (pale fire):
На голос бессмысленно-сладкого пенья,
Как Байрон за бледным огнём,
Сквозь полночь и розы, о, без сожаленья…
— И ты позабудешь о нём.
On the other hand, Zhorzhik Uranski brings to mind Uran the Last (Emperor of Zembla, reigned 1798-1799) and Uranograd, as Amphitheatricus (a not unkindly writer of fugitive poetry in the liberal gazettes) dubbed Onhava (the capital of Zembla):
Alfin the Vague (1873-1918; regnal dates 1900-1918, but 1900-1919 in most biographical dictionaries, a fumble due to the coincident calendar change from Old Style to New) was given his cognomen by Amphitheatricus, a not unkindly writer of fugitive poetry in the liberal gazettes (who was also responsible for dubbing my capital Uranograd!). King Alfin's absent-mindedness knew no bounds. He was a wretched linguist, having at his disposal only a few phrases of French and Danish, but every time he had to make a speech to his subjects - to a group of gaping Zemblan yokels in some remote valley where he had crash-landed - some uncontrollable switch went into action in his mind, and he reverted to those phrases, flavoring them for topical sense with a little Latin. Most of the anecdotes relating to his naïve fits of abstraction are too silly and indecent to sully these pages; but one of them that I do not think especially funny induced such guffaws from Shade (and returned to me, via the Common Room, with such obscene accretions) that I feel inclined to give it here as a sample (and as a corrective). One summer before the first world war, when the emperor of a great foreign realm (I realize how few there are to choose from) was paying an extremely unusual and flattering visit to our little hard country, my father took him and a young Zemblan interpreter (whose sex I leave open) in a newly purchased custom-built car on a jaunt in the countryside. As usual, King Alfin traveled without a vestige of escort, and this, and his brisk driving, seemed to trouble his guest. On their way back, some twenty miles from Onhava, King Alfin decided to stop for repairs. While he tinkered with the motor, the emperor and the interpreter sought the shade of some pines by the highway, and only when King Alfin was back in Onhava, did he gradually realize from a reiteration of rather frantic questions that he had left somebody behind ("What emperor?" has remained his only memorable mot). Generally speaking, in respect of any of my contributions (or what I thought to be contributions) I repeatedly enjoined my poet to record them in writing, by all means, but not to spread them in idle speech; even poets, however, are human. (note to Line 71)
The author of Gospoda Obmanovy (“The Obmanov Family,” 1902), a satire on the Russian imperial family (the Romanovs), in his book Zver’ iz bezdny (“Beast from the Abyss,” 1911) Amfitearov speaks of the phenomenon that K. H. Ulrichs dubbed uranizm (Urningism):
С 1864 по 1880 год в Лейпциге у Отто и Кадлера вышла целая серия работ по социальной физиологии некоего советника Ульрикса, озаглавленных в большинстве латинскими титулами — Vindex-Inclusa, Vindicta, Formatrix, Ara spei, Gladius furens. Критические стрелы. Идея этих статей — что «половое чувство не имеет отношения к полу». В мужском теле может заключаться женская и женскими страстями одаренная душа (anima muliebris in corpore virili inclusa) и, наоборот, женщина по телу может обладать душою и страстями мужчины. Ульрикс настаивал, что явление это, которое он назвал «уранизмом», есть лишь физиологическое исключение, а отнюдь не патологическая аномалия. На этом основании он требовал, чтобы закон и общество относились к любви урнингов как к явлению совершенно дозволительному и естественному и советовал даже разрешать браки между лицами одного и того же поля, которых судьба создала с урнингическими наклонностями. Нельзя не согласиться, что мальчишеские выходки развратного и пьяного юноши- язычника, которому было «все дозволено», оставлены обдуманной и научно поставленной теорией Ульрикса, старого ученого-христианина, далеко за флагом. А процесс Оскара Уайльда? А столь много нашумевшие разоблачения «Pall Mall Gazette» о подвигах английской родовой и коммерческой аристократии в лондонских трущобах? А записки Горона? А Эйленбург? А гомосексуальные радения — «лиги любви» — в современной России? А повести, в которых участники гомосексуального приключения предварительно молятся коленопреклоненно пред «иконами, приведшими де нас к общей радости»? Если урнингизм пытается переползти порог этики, его воспрещающей, — это симптом, пожалуй, поярче того, что две тысячи лет тому назад он откровенно переползал порог этики, к нему совершенно равнодушной.
«Я слыхал от некоторых, — говорит Светоний, — будто Нерон высказывал твердое убеждение, что стыд не свойствен природе человеческой, равно как нет в человеческом теле частей, обреченных на целомудрие, но что большинство людей только скрывают свои половые пороки и ловко притворяются целомудренными. Поэтому он извинял все другие пороки тем, кто откровенно предавался в его обществе похабству (professis apud se obscoenitatem»). Эта проповедь упразднения стыда откровенно развивалась в XV веке забубенною литературою Италии, в XVII — Англии, в XVIII — Франции, в конце XIX и в XX — России. В одном подпольно-порнографическом французском романе, приписываемом перу Альфреда де Мюссе, изображается общество, члены которого обязывались клятвою именно — как требовал Нерон — совершенно упразднить половой стыд и стараться довести тело своё до такой изощрённости, чтобы каждую часть его можно было использовать в целях сладострастия. (vol. III, “The Orgy,” chapter 1)
Amfiteatrov’s “beast from the abyss” is Nero (37-68 AD), the last Roman emperor of the Julio-Claudian dynasty. Kinbote's landlord, Judge Goldsworth is an authority on Roman law. In VN's satire on the editors of Numbers, Iz Kalmbrudovoy poemy "Nochnoe puteshestvie" (Vivian Calmbrood's "The Night Journey," 1931), Chenstone (the fictitious poet to whom Pushkin ascribed his little tragedy “The Covetous Knight,” 1830) mentions Johnson (whom they had beaten with a candlestick for a marked article) and Petroniy novyi (the new Petronius):
Да здравствует сатира! Впрочем,
нет пищи для нее в глухом
журнальном мире, где хлопочем
мы о бессмертии своем.
Дни Ювенала отлетели.
Не воспевать же, в самом деле,
как за крапленую статью
побили Джонсона шандалом?
Нет воздуха в сем мире малом.
Я музу увожу мою.
Вы спросите, как ей живется,
привольно ль, весело? О, да.
Идет, молчит, не обернется,
хоть пристают к ней иногда
сомнительные господа.
К иному критику в немилость
я попадаю оттого,
что мне смешна его унылость,
чувствительное кумовство,
суждений томность, слог жеманный,
обиды отзвук постоянный,
а главное - стихи его.
Бедняга! Он скрипит костями,
бренча на лире жестяной,
он клонится к могильной яме
адамовою головой.
И вообще: поэты много
о смерти ныне говорят;
венок и выцветшая тога -
обыкновенный их наряд.
Ущерб, закат... Петроний новый
с полуулыбкой на устах,
с последней розой бирюзовой
в изящно сложенных перстах,
садится в ванну. Все готово.
Уж вольной смерти близок час.
Но погоди! Чем резать жилу,
не лучше ль обратиться к мылу,
не лучше ль вымыться хоть раз?"
In G. Ivanov’s unfinished novel Tretiy Rim (“The Third Rome,” 1929) the action takes place in Petrograd (St. Petersburg's name in 1914-24), on the eve of the February Revolution of 1917. To dispel the thoughts of suicide, Velski (the novel's hero) sings from Verdi's opera Rigoletto (La donna mobile) and quotes Pushkin's poem Nereida ("The Nereid," 1820), "Among the green waves that kiss the Tauris at morning dawn I saw the Nereid:"
— Если, действительно, я...— начало складываться в уме что-то, чего Вельский, сделав над собой усилие, не додумал. — Тра-ла-ла-ла, — забарабанил он пальцами по перилам моста, повторяя вслух первое попавшееся, чтобы прогнать, не дать сложиться какому-то невероятному, немыслимому слову. — Тра- ла-ла-ла, — барабанил он. — Ла донна мобиле. Тигр и Евфрат. Тигр и Евфрат. Среди зеленых волн, лобзающих Тавриду, на утренней заре я видел Нереиду...
Tigr i Evfrat (Tigris and Euphrates), a phrase that Velski repeats twice, brings to mind Euphratski, in VN's story Usta k ustam ("Lips to Lips," 1931), another satire on the editors of Numbers, the journalist who also uses the pseudonym Tigrin. The story's main character, Ilya Borisovich, wants to sign his novel "Lips to Lips" with the penname I. Annenski.
Btw., a sail dyed a royal red also brings to mind Alexander Grin's novel Alye parusa ("Scarlet Sails," 1923). The action in it takes place in Grinland. One of the main characters, Grey, reminds one of Gradus (who is also known as de Grey).