Describing the last moments of Shade's life, 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 fireflies and a bat:
Line 991: horseshoes
Neither Shade nor I had ever been able to ascertain whence precisely those ringing sounds came - which of the five families dwelling across the road on the lower slopes of our woody hill played horseshoe quoits every other evening; but the tantalizing tingles and jingles contributed a pleasant melancholy note to the rest of Dulwich Hill's evening sonorities - children calling to each other, children being called home, and the ecstatic barking of the boxer dog whom most of the neighbors disliked (he overturned garbage cans) greeting his master home.
Through the trees I distinguished John's white shirt and gray hair; he sat in his Nest (as he called it), the arborlike porch or veranda I have mentioned in my note to lines 47-48. I could not keep from advancing a little nearer - oh, discreetly, almost on tiptoe; but then I noticed he was resting, not writing, and I openly walked up to his porch or perch. His elbow was on the table, his fist supported his temple, his wrinkles were all awry, his eyes moist and misty; he looked like an old tipsy witch. He lifted his free hand in greeting without changing his attitude, which although not unfamiliar to me struck me this time as more forlorn than pensive.
"Well," I said, "has the muse been kind to you?"
"Very kind," he replied, slightly bowing his hand-propped head. "exceptionally kind and gentle. In fact, I have here [indicating a huge pregnant envelope near him on the oilcloth] practically the entire product. A few trifles to settle and [suddenly striking the table with his fist] I've swung it, by God."
The envelope, unfastened at one end, bulged with stacked cards.
"Where is the missus?" I asked (mouth dry).
"Help me, Charlie, to get out of here," he pleaded. "Foot gone to sleep. Sybil is at a dinner-meeting of her club."
"A suggestion," I said, quivering. "I have at my place half a gallon of Tokay. I'm ready to share my favorite wine with my favorite poet. We shall have for dinner a knackle of walnuts, a couple of large tomatoes, and a bunch of bananas. And if you agree to show me your 'finished product,' there will be another treat: I promise to divulge to you why I gave you, or rather who gave you, your theme."
"What theme?" said Shade absently, as he leaned on my arm and gradually recovered the use of his numb limb.
"Our blue inenubilable Zembla, and the red-capped Steinmann, and the motorboat in the sea cave, and -"
"Ah," said Shade, "I think I guessed your secret quite some time ago. But all the same I shall sample your wine with pleasure. Okay, I can manage by myself now."
Well did I know he could never resist a golden drop of this or that, especially since he was severely rationed at home. With an inward leap of exultation I relieved him of the large envelope that hampered his movements as he descended the steps of the porch, sideways, like a hesitating infant. We crossed the lawn, we crossed the road. Clink-clank, came the horseshoe music from Mystery Lodge. In the large envelope I carried I could feel the hard-cornered, rubberbanded batches of index cards. We are absurdly accustomed to the miracle of a few written signs being able to contain immortal imagery, involutions of thought, new worlds with live people, speaking, weeping, laughing. We take it for granted so simply that in a sense, by the very act of brutish routine acceptance, we undo the work of the ages, the history of the gradual elaboration of poetical description and construction, from the treeman to Browning, from the caveman to Keats. What if we awake one day, all of us, and find ourselves utterly unable to read? I wish you to gasp not only at what you read but at the miracle of its being readable (so I used to tell my students). Although I am capable, through long dabbling in blue magic, of imitating any prose in the world (but singularly enough not verse - I am a miserable rhymester), I do not consider myself a true artist, save in one matter: I can do what only a true artist can do -pounce upon the forgotten butterfly of revelation, wean myself abruptly from the habit of things, see the web of the world, and the warp and the weft of that web. Solemnly I weighed in my hand what I was carrying under my left armpit, and for a moment, I found myself enriched with an indescribable amazement as if informed that fireflies were making decodable signals on behalf of stranded spirits, or that a bat was writing a legible tale of torture in the bruised and branded sky.
I was holding all Zembla pressed to my heart.
Fireflies in the Corn is a poem by D. H. Lawrence:
She speaks.
Look at the little darlings in the corn!
The rye is taller than you, who think yourself
So high and mighty: look how the heads are borne
Dark and proud on the sky, like a number of knights
Passing with spears and pennants and manly scorn.
Knights indeed! — much knight I know will ride
With his head held high-serene against the sky!
Limping and following rather at my side
Moaning for me to love him! — O darling rye
How I adore you for your simple pride!
And the dear, dear fireflies wafting in between
And over the swaying corn-stalks, just above
All the dark-feathered helmets, like little green
Stars come low and wandering here for love
Of these dark knights, shedding their delicate sheen!
I thank you I do, you happy creatures, you dears,
Riding the air, and carrying all the time
Your-little lanterns behind you! Ah, it cheers
My soul to see you settling and trying to climb
The corn-stalks, tipping with fire the spears.
All over the dim corn's motion, against the blue
Dark sky of night, a wandering glitter, a swarm
Of questing brilliant souls going out with their true
Proud knights to battle! Sweet, how I warm
My poor, my perished soul with the sight of you!
D. H. Lawrence is the author of Bat:
At evening, sitting on this terrace,
When the sun from the west, beyond Pisa, beyond the mountains of Carrara
Departs, and the world is taken by surprise ...
When the tired flower of Florence is in gloom beneath the glowing
Brown hills surrounding ...
When under the arches of the Ponte Vecchio
A green light enters against stream, flush from the west,
Against the current of obscure Arno ...
Look up, and you see things flying
Between the day and the night;
Swallows with spools of dark thread sewing the shadows together.
A circle swoop, and a quick parabola under the bridge arches
Where light pushes through;
A sudden turning upon itself of a thing in the air.
A dip to the water.
And you think:
"The swallows are flying so late!"
Swallows?
Dark air-life looping
Yet missing the pure loop ...
A twitch, a twitter, an elastic shudder in flight
And serrated wings against the sky,
Like a glove, a black glove thrown up at the light,
And falling back.
Never swallows!
Bats!
The swallows are gone.
At a wavering instant the swallows gave way to bats
By the Ponte Vecchio ...
Changing guard.
Bats, and an uneasy creeping in one's scalp
As the bats swoop overhead!
Flying madly.
Pipistrello!
Black piper on an infinitesimal pipe.
Little lumps that fly in air and have voices indefinite, wildly vindictive;
Wings like bits of umbrella.
Bats!
Creatures that hang themselves up like an old rag, to sleep;
And disgustingly upside down.
Hanging upside down like rows of disgusting old rags
And grinning in their sleep.
Bats!
In China the bat is symbol for happiness.
Not for me!
Kinbote calls Sybil Shade (the poet's wife whose "real" name seems to be Sofia Botkin, born Lastochkin) "Sybil Swallow:"
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. (note to Line 275)
In his Commentary Kinbote mentions Aunt Maud's painting Cypress and Bat:
It appears that in the beginning of 1950, long before the barn incident (see note to line 347), sixteen-year-old Hazel was involved in some appalling "psychokinetic" manifestations that lasted for nearly a month. Initially, one gathers, the poltergeist meant to impregnate the disturbance with the identity of Aunt Maud who had just died; the first object to perform was the basket in which she had once kept her half-paralyzed Skye terrier (the breed called in our country "weeping-willow dog"). Sybil had had the animal destroyed soon after its mistress's hospitalization, incurring the wrath of Hazel who was beside herself with distress. One morning this basket shot out of the "intact" sanctuary (see lines 90-98) and traveled along the corridor past the open door of the study, where Shade was at work; he saw it whizz by and spill its humble contents: a ragged coverlet, a rubber bone, and a partly discolored cushion. Next day the scene of action switched to the dining room where one of Aunt Maud's oils (Cypress and Bat) was found to be turned toward the wall. Other incidents followed, such as short flights accomplished by her scrapbook (see note to line 90) and, of course, all kinds of knockings, especially in the sanctuary, which would rouse Hazel from her, no doubt, peaceful sleep in the adjacent bedroom. But soon the poltergeist ran out of ideas in connection with Aunt Maud and became, as it were, more eclectic. All the banal motions that objects are limited to in such cases, were gone through in this one. Saucepans crashed in the kitchen; a snowball was found (perhaps, prematurely) in the icebox; once or twice Sybil saw a plate sail by like a discus and land safely on the sofa; lamps kept lighting up in various parts of the house; chairs waddled away to assemble in the impassable pantry; mysterious bits of string were found on the floor; invisible revelers staggered down the staircase in the middle of the night; and one winter morning Shade, upon rising and taking a look at the weather, saw that the little table from his study upon which he kept a Bible-like Webster open at M was standing in a state of shock outdoors, on the snow (subliminally this may have participated in the making of lines 5-12).
I imagine, that during that period the Shades, or at least John Shade, experienced a sensation of odd instability as if parts of the everyday, smoothly running world had got unscrewed, and you became aware that one of your tires was rolling beside you, or that your steering wheel had come off. My poor friend could not help recalling the dramatic fits of his early boyhood and wondering if this was not a new genetic variant of the same theme, preserved through procreation. Trying to hide from neighbors these horrible and humiliating phenomena was not the least of Shade's worries. He was terrified, and he was lacerated with pity. Although never able to corner her, that flabby, feeble, clumsy and solemn girl, who seemed more interested than frightened, he and Sybil never doubted that in some extraordinary way she was the agent of the disturbance which they saw as representing (I now quote Jane P.) "an outward extension or expulsion of insanity." They could not do much about it, partly because they disliked modern voodoo-psychiatry, but mainly because they were afraid of Hazel, and afraid to hurt her. They had however a secret interview with old-fashioned and learned Dr. Sutton, and this put them in better spirits. They were contemplating moving into another house or, more exactly, loudly saying to each other, so as to be overheard by anyone who might be listening, that they were contemplating moving, when all at once the fiend was gone, as happens with the moskovett, that bitter blast, that colossus of cold air that blows on our eastern shores throughout March, and then one morning you hear the birds, and the flags hang flaccid, and the outlines of the world are again in place. The phenomena ceased completely and were, if not forgotten, at least never referred to; but how curious it is that we do not perceive a mysterious sign of equation between the Hercules springing forth from a neurotic child's weak frame and the boisterous ghost of Aunt Maud; how curious that our rationality feels satisfied when we plump for the first explanation, though, actually, the scientific and the supernatural, the miracle of the muscle and the miracle of the mind, are both inexplicable as are all the ways of Our Lord. (note to Line 230)
Cypresses is a poem by D. H. Lawrence:
TUSCAN cypresses,
What is it?
Folded in like a dark thought
For which the language is lost,
Tuscan cypresses,
Is there a great secret?
Are our words no good?
The undeliverable secret,
Dead with a dead race and a dead speech, and yet
Darkly monumental in you,
Etruscan cypresses.
Ah, how I admire your fidelity,
Dark cypresses,
Is it the secret of the long-nosed Etruscans?
The long-nosed, sensitive-footed, subtly-smiling
Etruscans,
Who made so little noise outside the cypress groves?
Among the sinuous, flame-tall cypresses
That swayed their length of darkness all around
Etruscan-dusky, wavering men of old Etruria:
Naked except for fanciful long shoes,
Going with insidious, half-smiling quietness
And some of Africa's imperturbable sang-froid
About a forgotten business.
What business, then?
Nay, tongues are dead, and words are hollow as hollow
seed-pods,
Having shed their sound and finished all their echoing
Etruscan syllables,
That had the telling.
Yet more I see you darkly concentrate,
Tuscan cypresses,
On one old thought:
On one old slim imperishable thought, while you remain
Etruscan cypresses;
Dusky, slim marrow-thought of slender, flickering men of
Etruria,
Whom Rome called vicious.
Vicious, dark cypresses:
Vicious, you supple, brooding, softly-swaying pillars of dark
flame.
Monumental to a dead, dead race
Embalmed in you!
Were they then vicious, the slender, tender-footed,
Long-nosed men of Etruria?
Or was their way only evasive and different, dark, like cypress-
trees in a wind?
They are dead, with all their vices,
And all that is left
Is the shadowy monomania of some cypresses
And tombs.
The smile, the subtle Etruscan smile still lurking
Within the tombs,
Etruscan cypresses.
He laughs longest who laughs last;
Nay, Leonardo only bungled the pure Etruscan smile.
What would I not give
To bring back the rare and orchid-like
Evil-yclept Etruscan?
For as to the evil
We have only Roman word for it,
Which I, being a little weary of Roman virtue,
Don't hang much weight on.
For oh, I know, in the dust where we have buried
The silenced races and all their abominations,
We have buried so much of the delicate magic of life.
There in the deeps
That churn the frankincense and ooze the myrrh,
Cypress shadowy,
Such an aroma of lost human life!
They say the fit survive,
But I invoke the spirits of the lost.
Those that have not survived, the darkly lost.
To bring their meaning back into life again.
Which they have taken away
And wrapt inviolable in soft cypress-trees,
Etruscan cypresses.
Evil, what is evil?
There is only one evil, to deny life
As Rome denied Etruria
And mechanical America Montezuma still.
In Canto Four of his poem Shade speaks of evil and mentions old Zembla's fields:
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.
And while the safety blade with scrape and screak
Travels across the country of my cheek;
Cars on the highway pass, and up the steep
Incline big trucks around my jawbone creep,
And now a silent liner docks, and now
Sunglassers tour Beirut, and now I plough
Old Zembla's fields where my gay stubble grows,
And slaves make hay between my mouth and nose. (ll. 923-938)
In his Commentary Kinbote writes:
Line 937: Old Zembla
I am a weary and sad commentator today.
Parallel to the left-hand side of this card (his seventy-sixth) the poet has written, on the eve of his death, a line (from Pope's Second Epistle of the Essay on Man) that he may have intended to cite in a footnote:
At Greenland, Zembla, or the Lord knows where
So this is all treacherous old Shade could say about Zembla - my Zembla? While shaving his stubble off? Strange, strange...