Describing the King’s escape from Zembla, Kinbote (in VN’s novel Pale Fire, 1962, Shade’s mad commentator who imagines that he is Charles the Beloved, the last self-exiled king of Zembla) mentions the nippern (domed hills or "reeks"):
Great fallen crags diversified the wayside. The nippern (domed hills or "reeks") to the south were broken by a rock and grass slope into light and shadow. Northward melted the green, gray, bluish mountains – Falkberg with its hood of snow, Mutraberg with the fan of its avalanche, Paberg (Mt. Peacock), and others – separated by narrow dim valleys with intercalated cotton-wool bits of cloud that seemed placed between the receding sets of ridges to prevent their flanks from scraping against one another. Beyond them, in the final blue, loomed Mt. Glitterntin, a serrated edge of bright foil; and southward, a tender haze enveloped more distant ridges which led to one another in an endless array, through every grade of soft evanescence. (note to Line 149)
Nipper (1884-95) was a dog from Bristol, England, who served as the model for an 1898 painting by Francis Barraud titled His Master’s Voice (a major British record label was named after this painting). In VN’s story Conversation Piece, 1945 the narrator mentions his contempt for the Party line and for the Communist and his Master’s Voice:
As I crossed a self-conscious, small room that fairly brimmed with symbols of what advertisement writers call “gracious living” and was being ushered—theoretically, for the maid had dropped away—into a large, mellow, bourgeois salon, it gradually dawned upon me that this was exactly the sort of place where one would expect to be introduced to some old fool who had had caviar in the Kremlin or to some wooden Soviet Russian, and that my acquaintance Mrs. Sharp, who had for some reason always resented my contempt for the Party line and for the Communist and his Master’s Voice, had decided, poor soul, that such an experience might have a beneficial influence upon my sacrilegious mind.
In Canto Three of his poem Shade speaks of IPH (a lay Institute of Preparation for the Hereafter) and mentions an old Communist and the party line:
Among our auditors were a young priest
And an old Communist. Iph could at least
Compete with churches and the party line.
In later years it started to decline:
Buddhism took root. A medium smuggled in
Pale jellies and a floating mandolin.
Fra Karamazov, mumbling his inept
All is allowed, into some classes crept;
And to fulfill the fish wish of the womb,
A school of Freudians headed for the tomb. (ll. 635-644)
The characters in VN's story Conversation Piece, 1945 include a German professor whom the narrator calls "Dr. Shoe:"
From a group of a dozen people, my hostess emerged in the form of a long-limbed, flat-chested woman with lipstick on her prominent front teeth. She introduced me rapidly to the guest of honor and her other guests, and the discussion, which had been interrupted by my entrance, was at once resumed. The guest of honor was answering questions. He was a fragile-looking man with sleek, dark hair and a glistening brow, and he was so brightly illumined by the long-stalked lamp at his shoulder that one could distinguish the specks of dandruff on the collar of his dinner jacket and admire the whiteness of his clasped hands, one of which I had found to be incredibly limp and moist. He was the type of fellow whose weak chin, hollow cheeks, and unhappy Adam’s apple reveal, a couple of hours after shaving, when the humble talcum powder has worn off, a complex system of pink blotches overlaid with a stipple of bluish gray. He wore a crested ring, and for some odd reason I recalled a swarthy Russian girl in New York who was so troubled by the possibility of being mistaken for her notion of a Jewess that she used to wear a cross upon her throat, although she had as little religion as brains. The speaker’s English was admirably fluent, but the hard “djair” in his pronunciation of “Germany” and the persistently recurring epithet “wonderful,” the first syllable of which sounded like “wan,” proclaimed his Teutonic origin. He was, or had been, or was to become, a professor of German, or music, or both, somewhere in the Middle West, but I did not catch his name and so shall call him Dr. Shoe.
“Naturally he was mad!” exclaimed Dr. Shoe in answer to something one of the ladies had asked. “Look, only a madman could have messed up the war the way he did. And I certainly hope, as you do, that before long, if he should turn out to be alive, he will be safely interned in a sanatorium somewhere in a neutral country. He has earned it. It was madness to attack Russia instead of invading England. It was madness to think that the war with Japan would prevent Roosevelt from participating energetically in European affairs. The worst madman is the one who fails to consider the possibility of somebody else’s being mad too.”
“One cannot help feeling,” said a fat little lady called, I think, Mrs. Mulberry, “that thousands of our boys who have been killed in the Pacific would still be alive if all those planes and tanks we gave England and Russia had been used to destroy Japan.”
“Exactly,” said Dr. Shoe. “And that was Adolf Hitler’s mistake. Being mad, he failed to take into account the scheming of irresponsible politicians. Being mad, he believed that other governments would act in accordance with the principles of mercy and common sense.”
“I always think of Prometheus,” said Mrs. Hall. “Prometheus, who stole fire and was blinded by the angry gods.”
An old lady in a bright blue dress, who sat knitting in a corner, asked Dr. Shoe to explain why the Germans had not risen against Hitler.
Dr. Shoe lowered his eyelids for a moment. “The answer is a terrible one,” he said with an effort. “As you know, I am German myself, of pure Bavarian stock, though a loyal citizen of this country. And nevertheless, I am going to say something very terrible about my former countrymen. Germans”—the soft-lashed eyes were half-closed again—“Germans are dreamers.”
By this time, of course, I had fully realized that Mrs. Hall’s Mrs. Sharp was as totally distinct from my Mrs. Sharp as I was from my namesake. The nightmare into which I had been propelled would probably have struck him as a cozy evening with kindred souls, and Dr. Shoe might have seemed to him a most intelligent and brilliant causeur. Timidity, and perhaps morbid curiosity, kept me from leaving the room. Moreover, when I get excited, I stammer so badly that any attempt on my part to tell Dr. Shoe what I thought of him would have sounded like the explosions of a motorcycle which refuses to start on a frosty night in an intolerant suburban lane. I looked around, trying to convince myself that these were real people and not a Punch-and-Judy show.
In Canto One of his poem Shade describes a pheasant’s footprints on the snow and wonders if he was in Sherlock Holmes, the fellow whose tracks pointed back when he reversed his shoes:
Retake the falling snow: each drifting flake
Shapeless and slow, unsteady and opaque,
A dull dark white against the day's pale white
And abstract larches in the neutral light.
And then the gradual and dual blue
As night unites the viewer and the view,
And in the morning, diamonds of frost
Express amazement: Whose spurred feet have crossed
From left to right the blank page of the road?
Reading from left to right in winter's code:
A dot, an arrow pointing back; repeat:
Dot, arrow pointing back... A pheasant's feet
Torquated beauty, sublimated grouse,
Finding your China right behind my house.
Was he in Sherlock Holmes, the fellow whose
Tracks pointed back when he reversed his shoes? (ll. 13-28)
In his Commentary Kinbote writes:
A hawk-nosed, lanky, rather likable private detective, the main character in various stories by Conan Doyle. I have no means to ascertain at the present time which of these is referred to here but suspect that our poet simply made up this Case of the Reversed Footprints. (note to Line 27)
In His Last Bow: An Epilogue of Sherlock Holmes (1917) Holmes tells Watson that he wrote a book on beekeeping:
“But you have retired, Holmes. We heard of you as living the life of a hermit among your bees and your books in a small farm upon the South Downs."
"Exactly, Watson. Here is the fruit of my leisured ease, the magnum opus of my latter years!" He picked up the volume from the table and read out the whole title, Practical Handbook of Bee Culture, with Some Observations upon the Segregation of the Queen. "Alone I did it. Behold the fruit of pensive nights and laborious days when I watched the little working gangs as once I watched the criminal world of London."
According to Kinbote, the nippern are domed hills or "reeks." In her Russian translation of Pale Fire Vera Nabokov renders “reeks” as dymari:
Огромные свалившиеся скалы, разнообразные по форме, покрывали обочину. К югу nippern (куполообразные холмы, или «дымари») были разделены склоном из камня и травы на свет и тень. К северу таяли зеленые, серые, голубоватые горы — Фалькберг, со своим снежным капюшоном, Мутраберг, с лавинным веером, Паберг (Павлин-гора) и другие, разделенные узкими неясными долинами, перемежавшимися с клочками ватных облаков, которые, казалось, были всунуты между отступающими сериями хребтов, чтобы не дать их бокам тереться друг о друга. За ними, в конечной синеве, вздымалась гора Глиттернтин, как зубчатый край яркой фольги; а к югу нежная дымка обволакивала еще более далекие хребты гор, которые переходили один в другой бесконечной чередой, сквозь все градации мягкого расплывания.
Dymar’ is a bee smoker. In Canto Two of his poem Shade mentions a hive in which he is locked up:
What moment in the gradual decay
Does resurrection choose? What year? What day?
Who has the stopwatch? Who rewinds the tape?
Are some less lucky, or do all escape?
A syllogism: other men die; but I
Am not another; therefore I'll not die.
Space is a swarming in the eyes; and time,
A singing in the ears. In this hive I'm
Locked up. Yet, if prior to life we had
Been able to imagine life, what mad,
Impossible, unutterably weird,
Wonderful nonsense it might have appeared! (ll. 209-220)
In VN's novel Bend Sinister (1947) Shakespeare's domed head is compared to a hive of words:
But enough of this, let us hear Ember's rendering of some famous lines:
Ubit' il' ne ubit'? Vot est' oprosen.
Vto bude edler: v rasume tzerpieren
Ogneprashchi i strely zlovo roka –
(or as a Frenchman might have it:)
L’éorgerai-je ou non? Voici le vrai problème.
Est-il plus noble en soi de supporter quand même
Et les dards et le feu d'un accablant destin –
Yes, I am still jesting. We now come to the real thing.
Tam nad ruch'om rostiot naklonno iva,
V vode iavliaia list'ev sedinu;
Guirliandy fantasticheskie sviv
Iz etikh list'ev – s primes'u romashek,
Krapivy, lutikov –
(over yon brook there grows aslant a willow
Showing in the water the hoariness of its leaves;
Having tressed fantastic garlands
of these leaves, with a sprinkling of daisies,
Nettles, crowflowers – )
You see, I have to choose my commentators.
Or this difficult passage:
Ne dumaete-li Vy, sudar', shto vot eto (the song about the wounded deer), da les per'ev na shliape, da dve kamchatye rozy na proreznykh bashmakakh, mogli by, kol' fortuna zadala by mne turku, zasluzhit' mne uchast'e v teatralnoy arteli; a, sudar'?
Or the beginning of my favourite scene:
As he sits listening to Ember's translation, Krug cannot help marvelling at the strangeness of the day. He imagines himself at some point in the future recalling this particular moment. He, Krug, was sitting beside Ember's bed. Ember, with knees raised under the counterpane, was reading bits of blank verse from scraps of paper. Krug had recently lost his wife. A new political order had stunned the city. Two people he was fond of had been spirited away and perhaps executed. But the room was warm and quiet and Ember was deep in Hamlet. And Krug marvelled at the strangeness of the day. He listened to the rich-toned voice (Ember's father had been a Persian merchant) and tried to simplify the terms of his reaction. Nature had once produced an Englishman whose domed head had been a hive of words; a man who had only to breathe on any particle of his stupendous vocabulary to have that particle live and expand and throw out tremulous tentacles until it became a complex image with a pulsing brain and correlated limbs. Three centuries later, another man, in another country, was trying to render these rhythms and metaphors in a different tongue. This process entailed a prodigious amount of labour, for the necessity of which no real reason could be given. It was as if someone, having seen a certain oak tree (further called Individual T) growing in a certain land and casting its own unique shadow on the green and brown ground, had proceeded to erect in his garden a prodigiously intricate piece of machinery which in itself was as unlike that or any other tree as the translator's inspiration and language were unlike those of the original author, but which, by means of ingenious combination of parts, light effects, breeze-engendering engines, would, when completed, cast a shadow exactly similar to that of Individual T - the same outline, changing in the same manner, with the same double and single spots of sun rippling in the same position, at the same hour of the day. From a practical point of view, such a waste of time and material (those headaches, those midnight triumphs that turn out to be disasters in the sober light of morning!) was almost criminally absurd, since the greatest masterpiece of imitation presupposed a voluntary limitation of thought, in submission to another man's genius. Could this suicidal limitation and submission be compensated by the miracle of adaptive tactics, by the thousand devices of shadography, by the keen pleasure that the weaver of words and their witness experienced at every new wile in the warp, or was it, taken all in all, but an exaggerated and spiritualized replica of Paduk's writing machine? (chapter 7)
At the end of his poem Slovo (“The Word,” 1920) Gumilyov says that, like bees in a deserted hive, the dead words smell bad:
В оный день, когда над миром новым
Бог склонял лицо своё, тогда
Солнце останавливали словом,
Словом разрушали города.
И орёл не взмахивал крылами,
Звёзды жались в ужасе к луне,
Если, точно розовое пламя,
Слово проплывало в вышине.
А для низкой жизни были числа,
Как домашний, подъяремный скот,
Потому что все оттенки смысла
Умное число передаёт.
Патриарх седой, себе под руку
Покоривший и добро и зло,
Не решаясь обратиться к звуку,
Тростью на песке чертил число.
Но забыли мы, что осиянно
Только слово средь земных тревог,
И в Евангелии от Иоанна
Сказано, что Слово это - Бог.
Мы ему поставили пределом
Скудные пределы естества.
И, как пчелы в улье опустелом,
Дурно пахнут мёртвые слова.
Then, when God bent His face
over the shining new world, then
they stopped the sun with a word,
a word burned cities to the ground.
When a word floated across the sky
like a rose-colored flame
eagles closed their wings, frightened
stars shrank against the moon.
And we creeping forms had numbers,
like tame, load-bearing oxen —
because a knowing number
says everything, says it all.
That grey-haired prophet, who bent
good and evil to his will,
was afraid to speak
and drew a number in the sand.
But we worry about other things, and forget
that only the word glows and shines,
and the Gospel of John
tells us this word is God.
We’ve surrounded it with a wall,
with the narrow borders of this world,
and like bees in a deserted hive
the dead words smell bad.
(tr. Burton Raffel)
Gumilyov’s Slovo brings to mind vsyo eto, vidite l’, slova, slova, slova (all this is merely "words, words, words" you see), a line in Pushkin’s poem <Iz Pindemonti> (<From Pindemonte>, 1836):
Не дорого ценю я громкие права,
От коих не одна кружится голова.
Я не ропщу о том, что отказали боги
Мне в сладкой участи оспоривать налоги
Или мешать царям друг с другом воевать;
И мало горя мне, свободно ли печать
Морочит олухов, иль чуткая цензура
В журнальных замыслах стесняет балагура.
Всё это, видите ль, слова, слова, слова*
Иные, лучшие, мне дороги права;
Иная, лучшая, потребна мне свобода:
Зависеть от царя, зависеть от народа —
Не всё ли нам равно? Бог с ними. Никому
Отчёта не давать, себе лишь самому
Служить и угождать; для власти, для ливреи
Не гнуть ни совести, ни помыслов, ни шеи;
По прихоти своей скитаться здесь и там,
Дивясь божественным природы красотам,
И пред созданьями искусств и вдохновенья
Трепеща радостно в восторгах умиленья.
Вот счастье! вот права...
*Hamlet
I value little those much vaunted rights
that have for some the lure of dizzy heights;
I do not fret because the gods refuse
to let me wrangle over revenues,
or thwart the wars of kings; and 'tis to me
of no concern whether the press be free
to dupe poor oafs or whether censors cramp
the current fancies of some scribbling scamp.
These things are words, words, words. My spirit fights
for deeper Liberty, for better rights.
Whom shall we serve—the people or the State?
The poet does not care—so let them wait.
To give account to none, to be one's own
vassal and lord, to please oneself alone,
to bend neither one's neck, nor inner schemes,
nor conscience to obtain some thing that seems
power but is a flunkey's coat; to stroll
in one's own wake, admiring the divine
beauties of Nature and to feel one's soul
melt in the glow of man's inspired design
—that is the blessing, those are the rights!
[Translated by V. Nabokov]
As Pushkin points out in a footnote, “words, words, words” is a reference to Shakespeare’s Hamlet. In the draft Pushkin’s poem has the date under the text: July 5. According to Kinbote, Shade began Canto Two on July 5, 1959:
The poet began Canto Two (on his fourteenth card) on July 5, his sixtieth birthday (see note to line 181, "today"). My slip – change to sixty-first. (note to Line 167)
July 5 is not only Shade’s, but also Kinbote’s and Gradus’ birthday (while Shade was born in 1898, Kinbote and Gradus were born in 1915). The poet Shade, his commentator Kinbote and his murderer Gradus seem to represent three different aspects of one and the same man whose “real” name is Botkin (an American scholar of Russian descent, Professor Vsevolod Botkin went mad and became Shade, Kinbote and Gradus after the tragic death of his daughter Nadezhda). According to Kinbote (the author of a book on surnames), Botkin is one who makes bottekins, fancy footwear:
With commendable alacrity, Professor Hurley produced an Appreciation of John Shade's published works within a month after the poet's death. It came out in a skimpy literary review, whose name momentarily escapes me, and was shown to me in Chicago where I interrupted for a couple of days my automobile journey from New Wye to Cedarn, in these grim autumnal mountains.
A Commentary where placid scholarship should reign is not the place for blasting the preposterous defects of that little obituary. I have only mentioned it because that is where I gleaned a few meager details concerning the poet's parents. His father, Samuel Shade, who died at fifty, in 1902, had studied medicine in his youth and was vice-president of a firm of surgical instruments in Exton. His chief passion, however, was what our eloquent necrologist calls "the study of the feathered tribe," adding that "a bird had been named for him: Bombycilla Shadei" (this should be "shadei," of course). The poet's mother, née Caroline Lukin, assisted him in his work and drew the admirable figures of his Birds of Mexico, which I remember having seen in my friend's house. What the obituarist does not know is that Lukin comes from Luke, as also do Locock and Luxon and Lukashevich. It represents one of the many instances when the amorphous-looking but live and personal hereditary patronymic grows, sometimes in fantastic shapes, around the common pebble of a Christian name. The Lukins are an old Essex family. Other names derive from professions such as Rymer, Scrivener, Linner (one who illuminates parchments), Botkin (one who makes bottekins, fancy footwear) and thousands of others. My tutor, a Scotsman, used to call any old tumble-down building "a hurley-house." But enough of this. (note to Line 71)
Bottekins bring to mind Hamlet's proreznye bashmaki (razed shoes) in a fragment translated by Krug's friend Ember. Paberg (Mt. Peacock) reminds one of pajock (archaic form of peacock) mentioned by Hamlet in his dialogue with Horatio:
HAMLET
Why, let the stricken deer go weep,
The hart ungalled play;
For some must watch, while some must sleep:
So runs the world away.
Would not this, sir, and a forest of feathers-- if
the rest of my fortunes turn Turk with me--with two
Provincial roses on my razed shoes, get me a
fellowship in a cry of players, sir?
HORATIO
Half a share.
HAMLET
A whole one, I.
For thou dost know, O Damon dear,
This realm dismantled was
Of Jove himself; and now reigns here
A very, very--pajock.
HORATIO
You might have rhymed. (3.2)
Hamlet's friend Horatio was his fellow student at Wittenberg. Mutra (Polish for "nut") being a word borrowed from German Mutter ("mother; nut"), Mutraberg makes one think of Hamlet's mother Gertrude. Falkberg may hint at Falkenberg, a hamlet in Upper Bavaria and a hamlet in Upper Austria.