In Canto Four of his poem John Shade (the poet in VN’s novel Pale Fire, 1962) lists the things that he loathes and, at the end of his list, mentions sharks:
Now I shall speak of evil as none has
Spoken before. I loathe such things as jazz;
The white-hosed moron torturing a black
Bull, rayed with red; abstractist bric-a-brac;
Primitivist folk-masks; progressive schools;
Music in supermarkets; swimming pools;
Brutes, bores, class-conscious Philistines, Freud, Marx,
Fake thinkers, puffed-up poets, frauds and sharks. (ll. 923-930)
“Shark” Dodson is the main character in O. Henry’s story The Roads We Take (1910). O. Henry’s story ends as follows:
Shark Dodson's face bore a deeply sorrowful look. "You don't know how bad I feel," he sighed, "about that sorrel of yourn breakin' his leg, Bob."
The expression on Dodson's face changed in an instant to one of cold ferocity mingled with inexorable cupidity. The soul of the man showed itself for a moment like an evil face in the window of a reputable house.
Truly Bob Tidball was never to "hit the breeze" again. The deadly .45 of the false friend cracked and filled the gorge with a roar that the walls hurled back with indignant echoes. And Bolivar, unconscious accomplice, swiftly bore away the last of the holders-up of the "Sunset Express," not put to the stress of "carrying double."
But as "Shark" Dodson galloped away the woods seemed to fade from his view; the revolver in his right hand turned to the curved arm of a mahogany chair; his saddle was strangely upholstered, and he opened his eyes and saw his feet, not in stirrups, but resting quietly on the edge of a quartered-oak desk.
I am telling you that Dodson, of the firm of Dodson & Decker, Wall Street brokers, opened his eyes. Peabody, the confidential clerk, was standing by his chair, hesitating to speak. There was a confused hum of wheels below, and the sedative buzz of an electric fan.
"Ahem! Peabody," said Dodson, blinking. "I must have fallen asleep. I had a most remarkable dream. What is it, Peabody?"
"Mr. Williams, sir, of Tracy & Williams, is outside. He has come to settle his deal in X. Y. Z. The market caught him short, sir, if you remember."
"Yes, I remember. What is X. Y. Z. quoted at to-day, Peabody?"
"One eighty-five, sir."
"Then that's his price."
"Excuse me," said Peabody, rather nervously "for speaking of it, but I've been talking to Williams. He's an old friend of yours, Mr. Dodson, and you practically have a corner in X. Y. Z. I thought you might -- that is, I thought you might not remember that he sold you the stock at 98. If he settles at the market price it will take every cent he has in the world and his home too to deliver the shares."
The expression on Dodson's face changed in an instant to one of cold ferocity mingled with inexorable cupidity. The soul of the man showed itself for a moment like an evil face in the window of a reputable house.
"He will settle at one eighty-five," said Dodson. "Bolivar cannot carry double."
In O. Henry’s story, Bolivar is Shark Dodson’s horse. In Chapter One (XV: 10) of Eugene Onegin Pushkin mentions Onegin’s shirokiy bolivar (a broad bolivar):
Бывало, он еще в постеле:
К нему записочки несут.
Что? Приглашенья? В самом деле,
Три дома на вечер зовут:
Там будет бал, там детский праздник.
Куда ж поскачет мой проказник?
С кого начнет он? Все равно:
Везде поспеть немудрено.
Покамест в утреннем уборе,
Надев широкий боливар,
Онегин едет на бульвар
И там гуляет на просторе,
Пока недремлющий брегет
Не прозвонит ему обед.
It happened, he'd be still in bed
when little billets would be brought him.
What? Invitations? Yes, indeed,
to a soiree three houses bid him:
here, there will be a ball; elsewhere, a children's fete.
So whither is my scamp to scurry?
Whom will he start with? Never mind:
'tis simple to get everywhere in time.
Meanwhile, in morning dress,
having donned a broad bolivar,
Onegin drives to the boulevard
and there goes strolling unconfined
till vigilant Bréguet
to him chimes dinner.
In his EO Commentary (vol. II, p. 68) VN points out that bolivar was a silk hat, slightly funnelform, with a wide, upturned brim, especially fashionable in Paris and Petersburg in 1819. In his Foreword to Shade’s poem Kinbote (Shade’s mad commentator who imagines that he is Charles the Beloved, the last self-exiled king of Zembla) compares Shade to a conjurer and mentions the poet’s hat:
We never discussed, John Shade and I, any of my personal misfortunes. Our close friendship was on that higher, exclusively intellectual level where one can rest from emotional troubles, not share them. My admiration for him was for me a sort of alpine cure. I experienced a grand sense of wonder whenever I looked at him, especially in the presence of other people, inferior people. This wonder was enhanced by my awareness of their not feeling what I felt, of their not seeing what I saw, of their taking Shade for granted, instead of drenching every nerve, so to speak, in the romance of his presence. Here he is, I would say to myself, that is his head, containing a brain of a different brand than that of the synthetic jellies preserved in the skulls around him. He is looking from the terrace (of Prof. C.'s house on that March evening) at the distant lake. I am looking at him, I am witnessing a unique physiological phenomenon: John Shade perceiving and transforming the world, taking it in and taking it apart, re-combining its elements in the very process of storing them up so as to produce at some unspecified date an organic miracle, a fusion of image and music, a line of verse. And I experienced the same thrill as when in my early boyhood I once watched across the tea table in my uncle's castle a conjurer who had just given a fantastic performance and was now quietly consuming a vanilla ice. I stared at his powdered cheeks, at the magical flower in his buttonhole where it had passed through a succession of different colors and had now become fixed as a white carnation, and especially at his marvelous fluid-looking fingers which could if he chose make his spoon dissolve into a sunbeam by twiddling it, or turn his plate into a dove by tossing it up in the air.
Shade's poem is, indeed, that sudden flourish of magic: my gray-haired friend, my beloved old conjurer, put a pack of index cards into his hat - and shook out a poem.
Shade’s poem consists of 999 lines and is almost finished when the author is killed by Gradus. Kinbote believes that, to be completed, Shade’s poem needs but one line (Line 1000, identical to Line 1: “I was the shadow of the waxwing slain”). But it seems that, like some sonnets, Shade’s poem also needs a coda, Line 1001: “By its own double in the windowpane.” At the end of O. Henry’s story Shark Dodsons says (repeating the words that he said in his dream): “Bolivar cannot carry double.”
In O. Henry’s story The Prisoner of Zembla (1912) the King exclaims “Ods Bodkins!”:
The knights mounted and rode in a line past the grandstand, and the king stopped the poor student, who had the worst horse and the poorest caparisons of any of the knights and said:
"Sir Knight, prithee tell me of what that marvellous shacky and rusty-looking armor of thine is made?"
"Oh, king," said the young knight, "seeing that we are about to engage in a big fight, I would call it scrap iron, wouldn't you?"
"Ods Bodkins!" said the king. "The youth hath a pretty wit."
The interjection "odsbodkins" is a euphemistic form of "God's body," used as a mild oath. According to Kinbote, in a conversation with him and Shade Mrs. Hurley mentioned the old man at the Exton railway station who thought he was God and began redirecting the trains:
Above this the poet wrote and struck out:
The madman’s fate
The ultimate destiny of madmen's souls has been probed by many Zemblan theologians who generally hold the view that even the most demented mind still contains within its diseased mass a sane basic particle that survived death and suddenly expands, bursts out as it were, in peals of healthy and triumphant laughter when the world of timorous fools and trim blockheads has fallen away far behind. Personally, I have not known any lunatics; but have heard of several amusing cases in New Wye ("Even in Arcady am I," says Dementia, chained to her gray column). There was for instance a student who went berserk. There was an old tremendously trustworthy college porter who one day, in the Projection Room, showed a squeamish coed something of which she had no doubt seen better samples; but my favorite case is that of an Exton railway employee whose delusion was described to me by Mrs. H., of all people. There was a big Summer School party at the Hurleys', to which one of my second ping-pong table partners, a pal of the Hurley boys had taken me because I knew my poet was to recite there something and I was beside myself with apprehension believing it might be my Zembla (it proved to be an obscure poem by one of his obscure friends - my Shade was very kind to the unsuccessful). The reader will understand if I say that, at my altitude, I can never feel "lost" in a crowd, but it is also true that I did not know many people at the H.'s. As I circulated, with a smile on my face and a cocktail in my hand, through the crush, I espied at last the top of my poet's head and the bright brown chignon of Mrs. H. above the back of two adjacent chairs: At the moment I advanced behind them I heard him object to some remark she had just made:
"That is the wrong word," he said. "One should not apply it to a person who deliberately peels off a drab and unhappy past and replaces it with a brilliant invention. That's merely turning a new leaf with the left hand."
I patted my friend on the head and bowed slightly to Eberthella H. The poet looked at me with glazed eyes. She said: "You must help us, Mr. Kinbote: I maintain that what's his name, old - the old man, you know, at the Exton railway station, who thought he was God and began redirecting the trains, was technically a loony, but John calls him a fellow poet."
"We all are, in a sense, poets, Madam," I replied, and offered a lighted match to my friend who had his pipe in his teeth and was beating himself with both hands on various parts of his torso.
I am not sure this trivial variant has been worth commenting; indeed, the whole passage about the activities of the IPH would be quite Hudibrastic had its pedestrian verse been one foot shorter. (note to Line 629)
In O. Henry's story The Roads We Take Shark Dodson robs a train in his dream:
TWENTY miles West of Tucson, the "Sunset Express" stopped at a tank to take on water. Besides the aqueous, addition the engine of that famous flyer acquired some other things that were not good for it.
While the fireman was lowering the feeding hose, Bob Tidball, "Shark" Dodson and a quarter-bred Creek Indian called John Big Dog climbed on the engine and showed the engineer three round orifices in pieces of ordnance that the carried. These orifices so impressed the engineer with their possibilities that he raised both hands in a gesture such as accompanies the ejaculation "Do tell!"
At the crisp command of Shark Dodson, who was leader of the attacking force the engineer descended to the ground and uncoupled the engine and tender. Then John Big Dog, perched upon the coal, sportively held two guns upon the engine driver and the fireman, and suggested that they run the engine fifty yards away and there await further orders.
Shark Dodson brings to mind Fred Dobson, the circus dwarf in VN's story Kartofel'nyi el'f ("The Potato Elf," 1929). According to Kinbote, on his deathbed the King's uncle Conmal (Shakespeare's translator into Zemblan) called his nephew Karlik (a dwarf):
To return to the King: take for instance the question of personal culture. How often is it that kings engage in some special research? Conchologists among them can be counted on the fngers of one maimed hand. The last king of Zembla - partly under the influence of his uncle Conmal, the great translator of Shakespeare (see notes to lines 39 - 40 and 962), had become, despite frequent migraines, passionately addicted to the study of literature. At forty, not long before the collapse of his throne, he had attained such a degree of scholarship that he dared accede to his venerable uncle's raucous dying request: "Teach, Karlik!" Of course, it would have been unseemly for a monarch to appear in the robes of learning at a university lectern and present to rosy youths Finnigans Wake as a monstrous extension of Angus MacDiarmid's "incoherent transactions" and of Southey's Lingo-Grande ("Dear Stumparumper," etc.) or discuss the Zemblan variants, collected in 1798 by Hodinski, of the Kongs-skugg-sio (The Royal Mirror), an anonymous masterpiece of the twelfth century. Therefore he lectured under an assumed name and in a heavy make-up, with wig and false whiskers. All brown-bearded, apple-checked, blue-eyed Zemblans look alike, and I who have not shaved now for a year, resemble my disguised king (see also note to line 894). (note to Line 12)
The characters in The Potato Elf include the conjuror Shock. In his Foreword to Shade's poem Kinbote compares Shade to a conjuror. The poet Shade, his commentator Kinbote and his murderer Gradus seem to represent three different aspects of Botkin’s personality. 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 (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.
Btw., O. Henry’s story The Prisoner of Zembla brings to mind not only Kinbote’s Zembla, but also Anthony Hope’s novel The Prisoner of Zenda (1884).