Describing Aunt Maud's room in Canto One of his poem, John Shade (the poet in VN’s novel Pale Fire, 1962) mentions the forlorn guitar:
I was brought up by dear bizarre Aunt Maud,
A poet and a painter with a taste
For realistic objects interlaced
With grotesque growths and images of doom.
She lived to hear the next babe cry. Her room
We've kept intact. Its trivia create
A still life in her style: the paperweight
Of convex glass enclosing a lagoon,
The verse book open at the Index (Moon,
Moonrise, Moor, Moral), the forlorn guitar,
The human skull; and from the local Star
A curio: Red Sox Beat Yanks 5-4
On Chapman's Homer, thumbtacked to the door. (ll. 86-98)
Aunt Maud's forlorn guitar brings to mind "a cold and forlorn old age" mentioned by R. L. Stevenson in his essay Virginibus Puerisque (1881):
The fact is, we are much more afraid of life than our ancestors, and cannot find it in our hearts either to marry or not to marry. Marriage is terrifying, but so is a cold and forlorn old age. The friendships of men are vastly agreeable, but they are insecure. You know all the time that one friend will marry and put you to the door; a second accept a situation in China, and become no more to you than a name, a reminiscence, and an occasional crossed letter, very laborious to read; a third will take up with some religious crotchet and treat you to sour looks thence-forward. So, in one way or another, life forces men apart and breaks up the goodly fellowships for ever. The very flexibility and ease which make men’s friendships so agreeable while they endure, make them the easier to destroy and forget. And a man who has a few friends, or one who has a dozen (if there be any one so wealthy on this earth), cannot forget on how precarious a base his happiness reposes; and how by a stroke or two of fate—a death, a few light words, a piece of stamped paper, a woman’s bright eyes—he may be left, in a month, destitute of all. Marriage is certainly a perilous remedy. Instead of on two or three, you stake your happiness on one life only. But still, as the bargain is more explicit and complete on your part, it is more so on the other; and you have not to fear so many contingencies; it is not every wind that can blow you from your anchorage; and so long as Death withholds his sickle, you will always have a friend at home. People who share a cell in the Bastile, or are thrown together on an uninhabited isle, if they do not immediately fall to fisticuffs, will find some possible ground of compromise. They will learn each other’s ways and humours, so as to know where they must go warily, and where they may lean their whole weight. The discretion of the first years becomes the settled habit of the last; and so, with wisdom and patience, two lives may grow indissolubly into one. (I)
and R. L. Stevenson's story Providence and the Guitar (1890). R. L. Stevenson is the author of An Apology for Idlers (1877), an essay, and of The Suicide Club (1878), a collection of three short stories. According to Kinbote (Shade’s mad commentator who imagines that he is Charles the Beloved, the last self-exiled king of Zembla), his note to Line 493 of Shade’s poem (She took her poor young life) is not an apology of suicide:
The following note is not an apology of suicide – it is the simple and sober description of a spiritual situation.
The more lucid and overwhelming one's belief in Providence, the greater the temptation to get it over with, this business of life, but the greater too one's fear of the terrible sin implicit in self-destruction. Let us first consider the temptation. As more thoroughly discussed elsewhere in this commentary (see note to line 550), a serious conception of any form of afterlife inevitably and necessarily presupposes some degree of belief in Providence; and, conversely, deep Christian faith presupposes some belief in some sort of spiritual survival. The vision of that survival need not be a rational one, i. e., need not present the precise features of personal fancies or the general atmosphere of a subtropical Oriental park. In fact, a good Zemblan Christian is taught that True faith is not there to supply pictures or maps, but that it should quietly content itself with a warm haze of pleasurable anticipation. To take a homely example: little Christopher's family is about to migrate to a distant colony where his father has been assigned to a lifetime post. Little Christopher, a frail lad of nine or ten, relies completely (so completely, in fact, as to blot out the very awareness of this reliance) on his elders' arranging all the details of departure, passage and arrival. He cannot imagine, nor does he try to imagine, the particular aspects of the new place awaiting him but he is dimly and comfortably convinced that it will be even better than his homestead, with the big oak, and the mountain, and his pony, and the park, and the stable, and Grimm, the old groom, who has a way of fondling him whenever nobody is around.
Something of this simple trust we too should have. With this divine mist of utter dependence permeating one's being, no wonder one is tempted, no wonder one weighs on one's palm with a dreamy smile the compact firearm in its case of suede leather hardly bigger than a castlegate key or a boy's seamed purse, no wonder one peers over the parapet into an inviting abyss.
I am choosing these images rather casually. There are purists who maintain that a gentleman should use a brace of pistols, one for each temple, or a bare botkin (note the correct spelling), and that ladies should either swallow a lethal dose or drown with clumsy Ophelia. Humbler humans have preferred sundry forms of suffocation, and minor poets have even tried such fancy releases as vein tapping in the quadruped tub of a drafty boardinghouse bathroom. All this is uncertain and messy. Of the not very many ways known of shedding one's body, falling, falling, falling is the supreme method, but you have to select your sill or ledge very carefully so as not to hurt yourself or others. Jumping from a high bridge is not recommended even if you cannot swim, for wind and water abound in weird contingencies, and tragedy ought not to culminate in a record dive or a policeman's promotion. If you rent a cell in the luminous waffle, room 1915 or 1959, in a tall business center hotel browing the star dust, and pull up the window, and gently - not fall, not jump - but roll out as you should for air comfort, there is always the chance of knocking clean through into your own hell a pacific noctambulator walking his dog; in this respect a back room might be safer, especially if giving on the roof of an old tenacious normal house far below where a cat may be trusted to flash out of the way. Another popular take-off is a mountaintop with a sheer drop of say 500 meters but you must find it, because you will be surprised how easy it is to miscalculate your deflection offset, and have some hidden projection, some fool of a crag, rush forth to catch you, causing you to bounce off it into the brush, thwarted, mangled and unnecessarily alive. The ideal drop is from an aircraft, your muscles relaxed, your pilot puzzled, your packed parachute shuffled off, cast off, shrugged off - farewell, shootka (little chute)! Down you go, but all the while you feel suspended and buoyed as you somersault in slow motion like a somnolent tumbler pigeon, and sprawl supine on the eiderdown of the air, or lazily turn to embrace your pillow, enjoying every last instant of soft, deep, death-padded life, with the earth's green seesaw now above, now below, and the voluptuous crucifixion, as you stretch yourself in the growing rush, in the nearing swish, and then your loved body's obliteration in the Lap of the Lord. If I were a poet I would certainly make an ode to the sweet urge to close one's eyes and surrender utterly unto the perfect safety of wooed death. Ecstatically one forefeels the vastness of the Divine Embrace enfolding one's liberated spirit, the warm bath of physical dissolution, the universal unknown engulfing the minuscule unknown that had been the only real part of one's temporary personality.
When the soul adores Him Who guides it through mortal life, when it distinguishes His sign at every turn of the trail, painted on the boulder and notched in the fir trunk, when every page in the book of one's personal fate bears His watermark, how can one doubt that He will also preserve us through all eternity?
So what can stop one from effecting the transition? What can help us to resist the intolerable temptation? What can prevent us from yielding to the burning desire for merging in God?
We who burrow in filth every day may be forgiven perhaps the one sin that ends all sins.
According to Kinbote, a serious conception of any form of afterlife inevitably and necessarily presupposes some degree of belief in Providence. At the beginning of his story Providence and the Guitar R. L. Stevenson compares the hero to Count Almaviva (a character in two plays, Le Barbier de Séville, 1775, and Le Mariage de Figaro, 1784, by Pierre Beaumarchais):
Monsieur Léon Berthelini had a great care of his appearance, and sedulously suited his deportment to the costume of the hour. He affected something Spanish in his air, and something of the bandit, with a flavour of Rembrandt at home. In person he was decidedly small, and inclined to be stout; his face was the picture of good-humour; his dark eyes, which were very expressive, told of a kind heart, a brisk, merry nature, and the most indefatigable spirits. If he had worn the clothes of the period you would have set him down for a hitherto undiscovered hybrid between the barber, the innkeeper, and the affable dispensing chemist. But in the outrageous bravery of velvet jacket and flapped hat, with trousers that were more accurately described as fleshings, a white handkerchief cavalierly knotted at his neck, a shock of Olympian curls upon his brow, and his feet shod through all weathers in the slenderest of Molière shoes—you had but to look at him and you knew you were in the presence of a Great Creature. When he wore an overcoat he scorned to pass the sleeves; a single button held it round his shoulders; it was tossed backwards after the manner of a cloak, and carried with the gait and presence of an Almaviva. I am of opinion that M. Berthelini was nearing forty. But he had a boy’s heart, gloried in his finery, and walked through life like a child in a perpetual dramatic performance. If he were not Almaviva after all, it was not for lack of making believe. And he enjoyed the artist’s compensation. If he were not really Almaviva, he was sometimes just as happy as though he were. (Chapter I)
Le nozze di Figaro (The Marriage of Figaro, 1786) is an opera by Mozart, Il barbiere di Siviglia (The Barber of Seville, 1816) is an opera by Rossini. In Pushkin's little tragedy Mozart and Salieri (1830) Salieri calls Mozart gulyaka prazdnyi (an idle loafer) and mentions Beaumarchais's sparkling advice:
Сальери
И, полно! что за страх ребячий?
Рассей пустую думу. Бомарше
Говаривал мне: "Слушай, брат Сальери,
Как мысли черные к тебе придут,
Откупори шампанского бутылку
Иль перечти "Женитьбу Фигаро"".
Моцарт
Да! Бомарше ведь был тебе приятель;
Ты для него "Тарара" сочинил,
Вещь славную. Там есть один мотив...
Я все твержу его, когда я счастлив...
Ла ла ла ла... Ах, правда ли, Сальери,
Что Бомарше кого-то отравил?
Сальери
Не думаю: он слишком был смешон
Для ремесла такого.
Моцарт
Он же гений,
Как ты да я. А гений и злодейство -
Две вещи несовместные. Не правда ль?
Сальери
Ты думаешь?
(Бросает яд в стакан Моцарта.)
Ну, пей же.
Salieri
Enough! what is this childish terror?
Dispel the empty fancies. Beaumarchais
Used to instruct me: "Listen, old Salieri,
Whenever black thoughts come into your head,
Uncork yourself another Champagne bottle
Or reread Le mariage de Figaro."
Mozart
Yes! I remember, you were boon companions
With Beaumarchais; you wrote Tarare for him --
A glorious thing. It has one melody...
I keep on singing it when I feel happy...
La la la la... Ah, is it right, Salieri,
That Beaumarchais could really poison someone?
Salieri
I doubt he did: too laughable a fellow
For such a serious craft.
Mozart
He was a genius,
Like you and me. While genius and villainy
Are two things incompatible. Is that not right?
Salieri
You think so?
(Throws the poison into Mozart's glass.)
Well, now drink.
(Scene II, tr. G. Gurarie)
Aunt Maud's verse book open at the Index (Moon, Moonrise, Moor, Moral) brings to mind Shade's Bible-like Webster open at M:
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)
In R. L. Stevenson's story The Merry Men (1882) the narrator mentally runs over the different words which might be represented by the letter M—misery, mercy, marriage, money, and the like—and is arrested with a sort of start by the word murder:
Perhaps an hour had passed when my uncle, who had all the while been covertly gazing on the surface of the little bay, rose to his feet and bade me follow his example. Now I should say that the great run of tide at the south-west end of Aros exercises a perturbing influence round all the coast. In Sandag Bay, to the south, a strong current runs at certain periods of the flood and ebb respectively; but in this northern bay—Aros Bay, as it is called—where the house stands and on which my uncle was now gazing, the only sign of disturbance is towards the end of the ebb, and even then it is too slight to be remarkable. When there is any swell, nothing can be seen at all; but when it is calm, as it often is, there appear certain strange, undecipherable marks—sea-runes, as we may name them—on the glassy surface of the bay. The like is common in a thousand places on the coast; and many a boy must have amused himself as I did, seeking to read in them some reference to himself or those he loved. It was to these marks that my uncle now directed my attention, struggling, as he did so, with an evident reluctance.
“Do ye see yon scart upo’ the water?” he inquired; “yon ane wast the gray stane? Ay? Weel, it’ll no be like a letter, wull it?”
“Certainly it is,” I replied. “I have often remarked it. It is like a C.”
He heaved a sigh as if heavily disappointed with my answer, and then added below his breath: “Ay, for the Christ-Anna.”
“I used to suppose, sir, it was for myself,” said I; “for my name is Charles.”
“And so ye saw’t afore?”, he ran on, not heeding my remark. “Weel, weel, but that’s unco strange. Maybe, it’s been there waitin’, as a man wad say, through a’ the weary ages. Man, but that’s awfu’.” And then, breaking off: “Ye’ll no see anither, will ye?” he asked.
“Yes,” said I. “I see another very plainly, near the Ross side, where the road comes down—an M.”
“An M,” he repeated very low; and then, again after another pause: “An’ what wad ye make o’ that?” he inquired.
“I had always thought it to mean Mary, sir,” I answered, growing somewhat red, convinced as I was in my own mind that I was on the threshold of a decisive explanation.
But we were each following his own train of thought to the exclusion of the other’s. My uncle once more paid no attention to my words; only hung his head and held his peace; and I might have been led to fancy that he had not heard me, if his next speech had not contained a kind of echo from my own.
“I would say naething o’ thae clavers to Mary,” he observed, and began to walk forward.
There is a belt of turf along the side of Aros Bay, where walking is easy; and it was along this that I silently followed my silent kinsman. I was perhaps a little disappointed at having lost so good an opportunity to declare my love; but I was at the same time far more deeply exercised at the change that had befallen my uncle. He was never an ordinary, never, in the strict sense, an amiable, man; but there was nothing in even the worst that I had known of him before, to prepare me for so strange a transformation. It was impossible to close the eyes against one fact; that he had, as the saying goes, something on his mind; and as I mentally ran over the different words which might be represented by the letter M—misery, mercy, marriage, money, and the like—I was arrested with a sort of start by the word murder. I was still considering the ugly sound and fatal meaning of the word, when the direction of our walk brought us to a point from which a view was to be had to either side, back towards Aros Bay and homestead, and forward on the ocean, dotted to the north with isles, and lying to the southward blue and open to the sky. There my guide came to a halt, and stood staring for awhile on that expanse. Then he turned to me and laid a hand on my arm. (Chapter II "What the Wreck Had Brought to Aros")
In his Commentary and Index to Shade's poem Kinbote mentions Aros (a fine town in E. Zembla, capital of Conmal's dukedom):
The Bera Range, a two-hundred-mile-long chain of rugged mountains, not quite reaching the northern end of the Zemblan peninsula (cut off basally by an impassable canal from the mainland of madness), divides it into two parts, the flourishing eastern region of Onhava and other townships, such as Aros and Grindelwod, and the much narrower western strip with its quaint fishing hamlets and pleasant beach resorts. The two coasts are connected by two asphalted highways; the older one shirks difficulties by running first along the eastern slopes northward to Odevalla, Yeslove and Embla, and only then turning west at the northmost point of the peninsula; the newer one, an elaborate, twisting, marvelously graded road, traverses the range westward from just north of Onhava to Bregberg, and is termed in tourist booklets a "scenic drive." Several trails cross the mountains at various points and lead to passes none of which exceeds an altitude of five thousand feet; a few peaks rise some two thousand feet higher and retain their snow in midsummer; and from one of them, the highest and hardest, Mt. Glitterntin, one can distinguish on clear days, far out to the east, beyond the Gulf of Surprise, a dim iridescence which some say is Russia. (note to Line 149)
The activities of Gradus in Paris had been rather neatly planned by the Shadows. They were perfectly right in assuming that not only Odon but our former consul in Paris, the late Oswin Bretwit, would know where to find the King. They decided to have Gradus try Bretwit first. That gentleman had a flat in Meudon where he dwelt alone, seldom going anywhere except the National Library (where he read theosophic works and solved chess problems in old newspapers), and did not receive visitors. The Shadows' neat plan sprang from a piece of luck. Suspecting that Gradus lacked the mental equipment and mimic gifts necessary for the impersonation of an enthusiastic Royalist, they suggested he had better pose as a completely apolitical commissioner, a neutral little man interested only in getting a good price for various papers that private parties had asked him to take out of Zembla and deliver to their rightful owners. Chance, in one of its anti-Karlist moods, helped. One of the lesser Shadows whom we shall call Baron A. had a father-in-law called Baron B., a harmless old codger long retired from the civil service and quite incapable of understanding certain Renaissance aspects of the new regime. He had been, or thought he had been (retrospective distance magnifies things), a close friend of the late Minister of Foreign Affairs, Oswin Bretwit's father, and therefore was looking forward to the day when he would be able to transmit to "young" Oswin (who, he understood, was not exactly persona grata with the new regime) a bundle of precious family papers that the dusty baron had come across by chance in the files of a governmental office. All at once he was informed that now the day had come: the documents would be immediately forwarded to Paris. He was also allowed to prefix a brief note to them which read: Here are some precious papers belonging to your family. I cannot do better than place them in the hands of the son of the great man who was my fellow student in Heidelberg and my teacher in the diplomatic service. Verba volant, scripta manent.
The scripta in question were two hundred and thirteen long letters which had passed some seventy years ago between Zule Bretwit, Oswin's grand-uncle, Mayor of Odevalla, and a cousin of his, Ferz Bretwit, Mayor of Aros. This correspondence, a dismal exchange of bureaucratic platitudes and fustian jokes, was devoid of even such parochial interest as letters of this sort may possess in the eyes of a local historian - but of course there is no way of telling what will repel or attract a sentimental ancestralist - and this was what Oswin Bretwit had always been known to be by his former staff. I would like to take time out here to interrupt this dry commentary and pay a brief tribute to Oswin Bretwit. (note to Line 286)
Aros, a fine town in E. Zembla, capital of Conmal's dukedom; once the mayorship of the worthy Ferz ("chessqueen") Bretwit, a cousin of the granduncle of Oswin Bretwit (q. v.), 149, 286. (Index)
The King's Uncle Conmal (the Zemblan translator of Shakespeare) is Duke of Aros:
Conmal, Duke of Aros, 1855-1955, K.'s uncle, the eldest half-brother of Queen Blenda (q. v.); noble paraphrast, 12; his version of Timon of Athens, 39, 130; his life and work, 962. (Index)