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 a picture postcard on which the King found scribbled Proceed to R. C. Bon voyage!:
Three hours later he trod level ground. Two old women working in an orchard unbent in slow motion and stared after him. He had passed the pine groves of Boscobel and was approaching the quay of Blawick; when a black police car turned out on a transverse road and pulled up next to him: "The joke has gone too far," said the driver. "One hundred clowns are packed in Onhava jail, and the ex-King should be among them. Our local prison is much too small for more kings. The next masquerader will be shot at sight. What's your real name, Charlie?"
"I'm British. I'm a tourist," said the King. "Well, anyway, take off that red fufa. And the cap. Give them here." He tossed the things in the back of the car and drove off.
The King walked on; the top of his blue pajamas tucked into his skiing pants might easily pass for a fancy shirt. There was a pebble in his left shoe but he was too fagged out to do anything about it.
He recognized the seashore restaurant where many years earlier he had lunched incognito with two amusing, very amusing, sailors. Several heavily armed Extremists were drinking beer on the geranium-lined veranda, among the routine vacationists, some of whom were busy writing to distant friends. Through the geraniums, a gloved hand gave the King a picture postcard on which he found scribbled: Proceed to R. C. Bon voyage! Feigning a casual stroll, he reached the end of the embankment. (note to Line 149)
By R. C. the anonymous author of the note means the Rippleson Caves (sea caves in Blawick, named after a famous glass maker who embodied the dapple-and-ringle play and other circular reflections on blue-green sea water in his extraordinary stained glass windows for the Palace). In the Rippleson Caves a powerful motorboat is prepared for the King. In VN's novel Bend Sinister (1947) there is a square of cardboard bearing a rough inscription in ink: Bon Voyage!:
As they were passing the spot where two hours before a man with a heavy moustache and twinkling eyes had been sitting on a rustic fence, Krug noticed that now, instead of the man, there were but a couple of rudobrustki or ruddocks [a small bird allied to the robin] and that a square of cardboard had been nailed to the fence. It bore a rough inscription in ink (already somewhat affected by the drizzle):
Bon Voyage!
To this Krug drew the attention of the driver, who, without turning his head, remarked that there were many inexplicable things happening nowadays (a euphemism for 'new regime') and that it was better not to study current phenomena too closely. David tugged at his father's sleeve and wanted to know what it was all about. Krug explained that they were discussing the strange ways of people who arranged picnics in dreary November. (Chapter 6)
The phrase bon voyage occurs in John Finley's poem The Road to Dieppe (1917):
Often, in doubt, I'd paused to question one,
With nervous hands, as they who read Moon-type;
And more than once I'd caught a moment's sleep
Beside the highway, in the dripping grass,
While one of these white sentinels stood guard,
Knowing me for a friend, who loves the road,
And best of all by night, when wheels do sleep
And stars alone do walk abroad. – But once
Three watchful shadows, deeper than the dark,
Laid hands on me and searched me for the marks
Of traitor or of spy, only to find
Over my heart the badge of loyalty. –
With wish for bon voyage they gave me o'er
To the white guards who led me on again.
Three watchful shadows bring to mind the Shadows, a regicidal organization in Pale Fire:
For almost a whole year after the King's escape the Extremists remained convinced that he and Odon had not left Zembla. The mistake can be only ascribed to the streak of stupidity that fatally runs through the most competent tyranny. Airborne machines and everything connected with them cast a veritable spell over the minds of our new rulers whom kind history had suddenly given a boxful of these zipping and zooming gadgets to play with. That an important fugitive would not perform by air the act of fleeing seemed to them inconceivable. Within minutes after the King and the actor had clattered down the backstairs of the Royal Theater, every wing in the sky and on the ground had been accounted for - such was the efficiency of the government. During the next weeks not one private or commercial plane was allowed to take off, and the inspection of transients became so rigorous and lengthy that international lines decided to cancel stopovers at Onhava. There were some casualties. A crimson balloon was enthusiastically shot down and the aeronaut (a well-known meteorologist) drowned in the Gulf of Surprise. A pilot from a Lapland base flying on a mission of mercy got lost in the fog and was so badly harassed by Zemblan fighters that he settled atop a mountain peak. Some excuse for all this could be found. The illusion of the King's presence in the wilds of Zembla was kept up by royalist plotters who decoyed entire regiments into searching the mountains and woods of our rugged peninsula. The government spent a ludicrous amount of energy on solemnly screening the hundreds of impostors packed in the country's jails. Most of them clowned their way back to freedom; a few, alas, fell. Then, in the spring of the following year, a stunning piece of news came from abroad. The Zemblan actor Odon was directing the making of a cinema picture in Paris!
It was now correctly conjectured that if Odon had fled, the King had fled too: At an extraordinary session of the Extremist government there was passed from hand to hand, in grim silence, a copy of a French newspaper with the headline: L'EN-ROI DE ZEMBLA EST-IL À PARIS? Vindictive exasperation rather than state strategy moved the secret organization of which Gradus was an obscure member to plot the destruction of the royal fugitive. Spiteful thugs! They may be compared to hoodlums who itch to torture the invulnerable gentleman whose testimony clapped them in prison for life. Such convicts have been known to go berserk at the thought that their elusive victim whose very testicles they crave to twist and tear with their talons, is sitting at a pergola feast on a sunny island or fondling some pretty young creature between his knees in serene security - and laughing at them! One supposes that no hell can be worse than the helpless rage they experience as the awareness of that implacable sweet mirth reaches them and suffuses them, slowly destroying their brutish brains. A group of especially devout Extremists calling themselves the Shadows had got together and swore to hunt down the King and kill him wherever he might be. They were, in a sense, the shadow twins of the Karlists and indeed several had cousins or even brothers among the followers of the King. No doubt, the origin of either group could be traced to various reckless rituals in student fraternities and military clubs, and their development examined in terms of fads and anti-fads; but, whereas an objective historian associates a romantic and noble glamor with Karlism, its shadow group must strike one as something definitely Gothic and nasty. The grotesque figure of Gradus, a cross between bat and crab, was not much odder than many other Shadows, such as, for example, Nodo, Odon's epileptic half-brother who cheated at cards, or a mad Mandevil who had lost a leg in trying to make anti-matter. Gradus had long been a member of all sorts of jejune leftist organizations. He had never killed, though coming rather close to it several times in his gray life. He insisted later that when he found himself designated to track down and murder the King, the choice was decided by a show of cards - but let us not forget that it was Nodo who shuffled and dealt them out. Perhaps our man's foreign origin secretly prompted a nomination that would not cause any son of Zembla to incur the dishonor of actual regicide. We can well imagine the scene: the ghastly neon lights of the laboratory, in an annex of the Glass Works, where the Shadows happened to hold their meeting that night; the ace of spades lying on the tiled floor, the vodka gulped down out of test tubes; the many hands clapping Gradus on his round back, and the dark exultation of the man as he received those rather treacherous congratulations. We place this fatidic moment at 0:05, July 2, 1959 - which happens to be also the date upon which an innocent poet penned the first lines of his last poem. (note to Line 171)
An American educator, editor and author, John Finley (1863-1940) makes one think of Mrs. Finley, the cleaning woman to whom Kinbote farmed out Judge Goldsworth's cat:
Among various detailed notices affixed to a special board in the pantry, such as plumbing instructions, disserations on electricity, discourses on cactuses and so forth, I found the diet of the black cat that came with the house:
Mon, Wed, Fri: Liver
Tue, Thu, Sat: Fish
Sun: Ground meat
(All it got from me was milk and sardines; it was a likable little creature but after a while its movements began to grate on my nerves and I farmed it out to Mrs. Finley, the cleaning woman.) (note to Lines 47-48)
The action in Bend Sinister takes place in Padukgrad (the city named after Paduk, Krug's former schoolmate who became the dictator of Padukgrad). In The Road to Dieppe John Finley mentions grim Petrograd (St. Petersburg's name in 1914-24), VN's home city:
But it was out of that dread August night
From which all Europe woke to war, that we,
This beautiful Dawn-Youth, and I, had come,
He from afar. Beyond grim Petrograd
He'd waked the moujik from his peaceful dreams,
Bid the muezzin call to morning prayer
Where minarets rise o'er the Golden Horn,
And driven shadows from the Prussian march
To lie beneath the lindens of the stadt.
Softly he'd stirred the bells to ring at Rheims,
He'd knocked at high Montmartre, hardly asleep;
Heard the sweet carillon of doomed Louvain,
Boylike, had tarried for a moment's play
Amid the traceries of Amiens,
And then was hast'ning on the road to Dieppe,
When he o'ertook me drowsy from the hours
Through which I'd walked, with no companions else
Than ghostly kilometer posts that stood
As sentinels' of space along the way. –
In 1924, after Lenin's death, Petrograd was renamed Leningrad. In his commentary Kinbote mockingly calls Gradus (Shade’s murderer) "Vinogradus" and “Leningradus:”
Such things rankle--but what can Gradus do? The huddled fates engage in a great conspiracy against Gradus. One notes with pardonable glee that his likes are never granted the ultimate thrill of dispatching their victim themselves. Oh, surely, Gradus is active, capable, helpful, often indispensable. At the foot of the scaffold, on a raw and gray morning, it is Gradus who sweeps the night's powder snow off the narrow steps; but his long leathery face will not be the last one that the man who must mount those steps is to see in this world. It is Gradus who buys the cheap fiber valise that a luckier guy will plant, with a time bomb inside, under the bed of a former henchman. Nobody knows better than Gradus how to set a trap by means of a fake advertisement, but the rich old widow whom it hooks is courted and slain by another. When the fallen tyrant is tied, naked and howling, to a plank in the public square and killed piecemeal by the people who cut slices out, and eat them, and distribute his living body among themselves (as I read when young in a story about an Italian despot, which made of me a vegetarian for life), Gradus does not take part in the infernal sacrament: he points out the right instrument and directs the carving.
All this is as it should be; the world needs Gradus. But Gradus should not kill things. Vinogradus should never, never provoke God. Leningradus should not aim his peashooter at people even in dreams, because if he does, a pair of colossally thick, abnormally hairy arms will hug him from behind and squeeze, squeeze, squeeze. (note to Line 171)
and points out that Leningrad used to be Petrograd:
We all know those dreams in which something Stygian soaks through and Lethe leaks in the dreary terms of defective plumbing. Following this line, there is a false start preserved in the draft—and I hope the reader will feel something of the chill that ran down my long and supple spine when I discovered this variant:
Should the dead murderer try to embrace
His outraged victim whom he now must face?
Do objects have a soul? Or perish must
Alike great temples and Tanagra dust?
The last syllable of “Tanagra” and the first three letters of “dust” form the name of the murderer whose shargar (puny ghost) the radiant spirit of our poet was soon to face. “Simple chance!” the pedestrian reader may cry. But let him try to see, as I have tried to see, how many such combinations are possible and plausible. “Leningrad used to be Petrograd?” “A prig rad (obs. past tense of read) us?”
This variant is so prodigious that only scholarly discipline and a scrupulous regard for the truth prevented me from inserting it here, and deleting four lines elsewhere (for example, the weak lines 627-630) so as to preserve the length of the poem. (note to Line 596)
Petrograd (1829) is a poem by Shevyryov about the quarrel between the Sea and the tsar Peter I (the founder of St. Petersburg). At the beginning of Part I of Mednyi vsadnik ("The Bronze Horseman," 1833) Pushkin mentions omrachennyi Petrograd (the ensombered Petrograd):
Над омраченным Петроградом
Дышал ноябрь осенним хладом.
Over the ensombered Petrograd
November breathed with autumn chill.