In his Commentary and Index to Shade's poem 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 Embla town and Emblem bay:
Embla, a small old town with a wooden church surrounded by sphagnum bogs at the saddest, loneliest, northmost point of the misty peninsula, 149, 433. (Index)
Emblem, meaning "blooming" in Zemblan; a beautiful bay with bluish and black, curiously striped rocks and a luxurious growth of heather on its gentle slopes, in the southmost part of W. Zembla, 433. (Index)
In Norse mythology, Ask and Embla (from Old Norse: Askr ok Embla)—male and female respectively—were the first two humans, created by the gods (the pair appears in both the Poetic Edda and Snorri Sturluson’s Prose Edda). Moral Emblems (1882) is a book of verses by R. L. Stevenson illustrated by the author himself. Here is one Emblem, as an example:
III A Peak in Darien
Broad-gazing on untrodden lands,
See where adventurous Cortez stands;
While in the heavens above his head
The Eagle seeks its daily bread.
How aptly fact to fact replies:
Heroes and eagles, hills and skies.
Ye who contemn the fatted slave
Look on this emblem, and be brave.
In a letter of March 1882 to W. E. Henley (an English poet, writer, critic and editor, 1849-1903) R. L. Stevenson (who stayed with his wife and stepson in Davos, Chalet am Stein) mentions his book:
MY DEAR HENLEY, - . . . Last night we had a dinner-party, consisting of the John Addington, curry, onions (lovely onions), and beefsteak. So unusual is any excitement, that F. and I feel this morning as if we had been to a coronation. However I must, I suppose, write.
I was sorry about your female contributor squabble. 'Tis very comic, but really unpleasant. But what care I? Now that I illustrate my own books, I can always offer you a situation in our house - S. L. Osbourne and Co. As an author gets a halfpenny a copy of verses, and an artist a penny a cut, perhaps a proof-reader might get several pounds a year.
O that Coronation! What a shouting crowd there was! I obviously got a firework in each eye. The king looked very magnificent, to be sure; and that great hall where we feasted on seven hundred delicate foods, and drank fifty royal wines - QUEL COUP D'OEIL! but was it not over-done, even for a coronation - almost a vulgar luxury? And eleven is certainly too late to begin dinner. (It was really 6.30 instead of 5.30.)
Your list of books that Cassells have refused in these weeks is not quite complete; they also refused:-
1. Six undiscovered Tragedies, one romantic Comedy, a fragment of Journal extending over six years, and an unfinished Autobiography reaching up to the first performance of King John. By William Shakespeare.
2. The journals and Private Correspondence of David, King of Israel.
3. Poetical Works of Arthur, Iron Dook of Wellington, including a Monody on Napoleon.
4. Eight books of an unfinished novel, SOLOMON CRABB. By Henry Fielding.
5. Stevenson's Moral Emblems.
Stevenson's exclamation "O that Coronation!" brings to mind Coronation Day mentioned by Kinbote when he describes the King's escape from Zembla:
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.
The short stretch of beach between the restaurant at the beginning of the promenade and the granite rocks at its end was almost empty: far to the left three fishermen were loading a rowboat with kelp-brown nets, and directly under the sidewalk, an elderly woman wearing a polka-dotted dress and having for headgear a cocked newspaper (EX-KING SEEN -) sat knitting on the shingle with her back to the street. Her bandaged legs were stretched out on the sand; on one side of her lay a pair of carpet slippers and on the other a ball of red wool, the leading filament of which she would tug at every now and then with the immemorial elbow jerk of a Zemblan knitter to give a turn to her yarn clew and slacken the thread. Finally, on the sidewalk a little girl in a ballooning skirt was clumsily but energetically clattering about on roller skates. Could a dwarf in the police force pose as a pigtailed child?
Waiting for the Russian couple to recede, the King stopped beside the bench. The mosaic-faced man folded his newspaper, and one second before he spoke (in the neutral interval between smoke puff and detonation), the King knew it was Odon.
"All one could do at short notice," said Odon, plucking at his cheek to display how the varicolored semi-transparent film adhered to his face, altering its contours according to stress. "A polite person," he added, "does not, normally, examine too closely a poor fellow's disfigurement."
"I was looking for shpiks [plainclothesmen]" said the King. "All day," said Odon, "they have been patrolling the quay. They are dining at present."
"I'm thirsty and hungry," said the King. "That's young Baron Mandevil - chap who had that duel last year. Let's go now."
"Couldn't we take him too?"
"Wouldn't come - got a wife and a baby. Come on, Charlie, come on, Your Majesty."
"He was my throne page on Coronation Day."
Thus chatting, they reached the Rippleson Caves. I trust the reader has enjoyed this note. (note to Line 149)
A firework that R. L. Stevenson obviously got in each eye makes one think of the fireworks mentioned by Kinbote when he describes the King's first meeting with his future wife, Queen Disa:
John Shade and Sybil Swallow (see note to line 247) were married in 1919, exactly three decades before King Charles wed Disa, Duchess of Payn. Since the very beginning of his reign (1936-1958) representatives of the nation, salmon fishermen, non-union glaziers, military groups, worried relatives, and especially the Bishop of Yeslove, a sanguineous and saintly old man, had been doing their utmost to persuade him to give up his copious but sterile pleasures and take a wife. It was a matter not of morality but of succession. As in the case of some of his predecessors, rough alderkings who burned for boys, the clergy blandly ignored our young bachelor's pagan habits, but wanted him to do what an earlier and even more reluctant Charles had done: take a night off and lawfully engender an heir.
He saw nineteen-year-old Disa for the first time on the festive night of July the 5th, 1947, at a masked ball in his uncle's palace. She had come in male dress, as a Tirolese boy, a little knock-kneed but brave and lovely, and afterwards he drove her and her cousins (two guardsmen disguised as flowergirls) in his divine new convertible through the streets to see the tremendous birthday illumination, and the fackeltanz in the park, and the fireworks, and the pale upturned faces. He procrastinated for almost two years but was set upon by inhumanly eloquent advisors, and finally gave in. On the eve of his wedding he prayed most of the night locked up all alone in the cold vastness of the Onhava cathedral. Smug alderkings looked at him from the ruby-and-amethyst windows. Never had he so fervently asked God for guidance and strength (see further my note to lines 433-434).
After line 274 there is a false start in the draft:
I like my name: Shade, Ombre, almost "man"
In Spanish...
One regrets that the poet did not pursue this theme--and spare his reader the embarrassing intimacies that follow. (note to Line 275)
Describing his visit to his wife's Mediterranean Villa Disa, Kinbote mentions the entire blue bulk of Zembla, from Embla Point to Emblem Bay:
Now that he was safely out of the country, the entire blue bulk of Zembla, from Embla Point to Emblem Bay, could sink in the sea for all she [Queen Disa] cared. That he had lost weight was of more concern to her than that he had lost a kingdom. Perfunctorily she inquired about the crown jewels; he revealed to her their unusual hiding place, and she melted in girlish mirth as she had not done for years and years. (Kinbote’s note to ll. 433-434)
In the same letter to W. E. Henley R. L. Stevenson says that he is enjoying Fielding's Solomon Crabb extremely:
I am enjoying SOLOMON CRABB extremely; Solomon's capital adventure with the two highwaymen and Squire Trecothick and Parson Vance; it is as good, I think, as anything in Joseph Andrews. I have just come to the part where the highwayman with the black patch over his eye has tricked poor Solomon into his place, and the squire and the parson are hearing the evidence. Parson Vance is splendid. How good, too, is old Mrs. Crabb and the coastguardsman in the third chapter, or her delightful quarrel with the sexton of Seaham; Lord Conybeare is surely a little overdone; but I don't know either; he's such damned fine sport. Do you like Sally Barnes? I'm in love with her. Constable Muddon is as good as Dogberry and Verges put together; when he takes Solomon to the cage, and the highwayman gives him Solomon's own guinea for his pains, and kisses Mrs. Muddon, and just then up drives Lord Conybeare, and instead of helping Solomon, calls him all the rascals in Christendom - O Henry Fielding, Henry Fielding! Yet perhaps the scenes at Seaham are the best. But I'm bewildered among all these excellences.
Shade's murderer, Gradus is a cross between bat and crab:
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. (note to Line 171)
A character in R. L. Stevenson's novel Treasure Island (1881-82), Long John Silver (the leader of the pirates who acts as a cook on the Hispaniola) is one-legged. In his Commentary Kinbote mentions Aunt Maud's oil The Cypress and the Bat.