A character in VN's novel Lolita (1955), Gaston Godin (Humbert Humbert's friend and chess partner at Beardsley), eventually gets involved in a sale histoire, in Naples of all places:
A word about Gaston Godin. The main reason why I enjoyed - or at least tolerated with relief - his company was the spell of absolute security that his ample person cast on my secret. Not that he knew it; I had no special reason to confide in him, and he was much too self-centered and abstract to notice or suspect anything that might lead to a frank question on his part and a frank answer on mine. He spoke well of me to Beardsleyans, he was my good herald. Had he discovered mes goûts and Lolita’s status, it would have interested him only insofar as throwing some light on the simplicity of my attitude towards him, which attitude was as free of polite strain as it was of ribald allusions; for despite his colorless mind and dim memory, he was perhaps aware that I knew more about him than the burghers of Beardsley did. He was a flabby, dough-faced, melancholy bachelor tapering upward to a pair of narrow, not quite level shoulders and a conical pear-head which had sleek black hair on one side and only a few plastered wisps on the other. But the lower part of his body was enormous, and he ambulated with a curious elephantine stealth by means of phenomentally stout legs. He always wore black, even his tie was black; he seldom bathed; his English was a burlesque. And, nonetheless, everybody considered him to be a supremely lovable, lovably freakish fellow! Neighbors pampered him; he knew by name all the small boys in our vicinity (he lived a few blocks away from me)and had some of them clean his sidewalk and burn leaves in his back yard, and bring wood from his shed, and even perform simple chores about the house, and he would feed them fancy chocolates, with real liqueurs inside - in the privacy of an orientally furnished den in his basement, with amusing daggers and pistols arrayed on the moldy, rug-adorned walls among the camouflaged hot-water pipes. Upstairs he had a studiohe painted a little, the old fraud. He had decorated its sloping wall (it was really not more than a garret) with large photographs of pensive André Gide, Tchaikovsky, Norman Douglas, two other well-known English writers, Nijinsky (all thighs and fig leaves), Harold D. Doublename (a misty-eyed left-wing professor at a Midwestern university) and Marcel Proust. All these poor people seemed about to fall on you from their inclined plane. He had also an album with snapshots of all the Jackies and Dickies of the neighborhood, and when I happened to thumb through it and make some casual remark, Gaston would purse his fat lips and murmur with a wistful pout “Oui, ils sont gentils. ” His brown eyes would roam around the various sentimental and artistic bric-a-brac present, and his own banal toiles (the conventionally primitive eyes, sliced guitars, blue nipples and geometrical designs of the day), and with a vague gesture toward a painted wooden bowl or veined vase, he would say “Prenez donc une de ces poires. La bonne dame d’en face m’en offre plus que je n’en peux savourer.” Or: “Mississe Taille Lore vient de me donner ces dahlias, belles fleurs que j’exècre .” (Somber, sad, full of world-weariness.)
For obvious reasons, I preferred my house to his for the games of chess we had two or three times weekly. He looked like some old battered idol as he sat with his pudgy hands in his lap and stared at the board as if it were a corpse. Wheezing he would mediate for ten minutes - then make a losing move. Or the good man, after even more thought, might utter: Au roi! With a slow old-dog woof that had a gargling sound at the back of it which made his jowls wabble; and then he would lift his circumflex eyebrows with a deep sigh as I pointed out to him that he was in check himself.
Sometimes, from where we sat in my cold study I could hear Lo’s bare feet practicing dance techniques in the living room downstairs; but Gaston’s outgoing senses were comfortably dulled, and he remained unaware of those naked rhythms - and-one, and-two, and-one, and-two, weight transferred on a straight right leg, leg up and out to the side, and-one, and-two, and only when she started jumping, opening her legs at the height of the jump, and flexing one leg, and extending the other, and flying, and landing on her toes - only then did my pale, pompous, morose opponent rub his head or cheek as if confusing those distant thuds with the awful stabs of my formidable Queen.
Sometimes Lola would slouch in while we pondered the board - and it was every time a treat to see Gaston, his elephant eye still fixed on his pieces, ceremoniously rise to shake hands with her, and forthwith release her limp fingers, and without looking once at her, descend again into his chair to topple into the trap I had laid for him. One day around Christmas, after I had not seen him for a fortnight or so, he asked me “Et toutes vos fillettes, elles vont bien?” from which it became evident to me that he had multiplied my unique Lolita by the number of sartorial categories his downcast moody eye had glimpsed during a whole series of her appearances: blue jeans, a skirt, shorts, a quilted robe.
I am loath to dwell so long on the poor fellow (sadly enough, a year later, during a voyage to Europe, from which he did not return, he got involved in a sale histoire, in Naples of all places!). I would have hardly alluded to him at all had not his Beardsley existence had such a queer bearing on my case. I need him for my defense. There he was devoid of any talent whatsoever, a mediocre teacher, a worthless scholar, a glum repulsive fat old invert, highly contemptuous of the American way of life, triumphantly ignorant of the English language - there he was in priggish New England, crooned over by the old and caressed by the young - oh, having a grand time and fooling everybody; and here was I. (2.6)
Addio, Napoli (1891) is a poem by Dmitri Merezhkovski (a Russian poet and writer, 1865-1941):
Слабеет моря гул прощальный,
Как сонный шепот Нереид,
Напев далекий и печальный —
«Addio, Napoli» звучит...
Как тихий жертвенник, дымится
Везувий в светлой вышине,
Огонь краснеет при луне,
И белый дым над ним клубится...
Мне бесконечно дорога
Земля твоих цветущих склонов,
Сорренто с рощами лимонов,
О, золотые берега!..
Прохлада гротов — в полдень жаркий,
Где голубым огнем горит
Волна, кидая на гранит
Дрожащей влаги отблеск яркий,
Где камни скрыл подводный мох,
Где днем и ночью Океана
В глубокой бездне слышен вздох,
Подобный музыке органа.
И в том, как шепчется трава,
И в том, как плачет непогода,
Хотел подслушать я, Природа,
Твои сердечные слова!
Искал я в ропоте потоков,
Искал в тиши твоих ночей
Еще не понятых намеков,
Твоей души, твоих речей...
Теперь ты кажешься мне сказкой,
Сорренто! Север впереди...
Но шепчет Юг с последней лаской:
«Не уходи, не уходи!»
Слабеет моря гул прощальный,
Как сонный шепот Нереид,
Напев далекий и печальный:
«Addio, Napoli» звучит...
In his philosophical essay Zhanna Dark ("Joan of Arc," 1938) Merezhkovski mentions Godony (les godons, a historical, derogatory French nickname for the English, which originated during the Hundred Years' War from the frequent use of the English "God damn" curse), Khvostatye (the Tailed ones):
«Что же такое, Господи! Неужели же из Франции будет изгнан король и все мы сделаемся англичанами?» — спрашивал с отчаянием и ужасом один француз в 1438 году тогда еще никому почти не известную крестьянскую девушку Жанну. Если слово «король» заменить словом «дух» или «душа», а слово «англичане» — словом «Годоны», то в 1938 году француз, бывший участник Великой войны, мог бы спросить с таким же отчаянием и ужасом маленькую Терезу, «Деву Окопов»: «Что же это такое, Господи! Неужели же из Франции изгнана будет душа, убита, и все мы сделаемся Годонами, Хвостатыми?» (Chapter One, V)
Merezhkovski mentions a despaired Frenchman who in 1438 asked Jeanne (a peasant girl whom almost nobody knew yet) if the king will really be banished and we all will become the English. Merezhkovski wonders what if we substitute the word "spirit" or "soul" for "king," and the word "Godons" for "the English" and ask this question little Thérèse, "the Maid of the Trenches," in 1938. Describing his temptation to drown Charlotte (Lolita's mother) in Hourglass Lake, Humbert mentions year 1447 and year 1947:
She swam beside me, a trustful and clumsy seal, and all the logic of passion screamed in my ear: Now is the time! And, folks, I just couldn’t! In silence I turned shoreward and gravely, dutifully, she also turned, and still hell screamed its counsel, and still I could not make myself drown the poor, slippery, big-bodied creature. The scream grew more and more remote as I realized the melancholy fact that neither tomorrow, nor Friday, nor any other day or night, could I make myself put her to death. Oh, I could visualize myself slapping Valeria’s breasts out of alignment, or otherwise hurting herand I could see myself, no less clearly, shooting her lover in the underbelly and making him say “akh!” and sit down. But I could not kill Charlotte - especially when things were on the whole not quite as hopeless, perhaps, as they seemed at first wince on that miserable morning. Were I to catch her by her strong kicking foot; were I to see her amazed look, hear her awful voice; were I still to go through with the ordeal, her ghost would haunt me all my life. Perhaps if the year were 1447 instead of 1947 I might have hoodwinked my gentle nature by administering her some classical poison from a hollow agate, some tender philter of death. But in our middle-class nosy era it would not have come off the way it used to in the brocaded palaces of the past. Nowadays you have to be a scientist if you want to be a killer. No, no, I was neither. Ladies and gentlemen of the jury, the majority of sex offenders that hanker for some throbbing, sweet-moaning, physical but not necessarily coital, relation with a girl-child, are innocuous, inadequate, passive, timid strangers who merely ask the community to allow them to pursue their practically harmless, so-called aberrant behavior, their little hot wet private acts of sexual deviation without the police and society cracking down upon them. We are not sex fiends! We do not rape as good soldiers do. We are unhappy, mild, dog-eyed gentlemen, sufficiently well integrated to control our urge in the presence of adults, but ready to give years and years of life for one chance to touch a nymphet. Emphatically, no killers are we. Poets never kill. Oh, my poor Charlotte, do not hate me in your eternal heaven among an eternal alchemy of asphalt and rubber and metal and stone - but thank God, not water, not water! (1.20)
Describing the beginning of his second road trip with Lolita across the USA, Humbert calls Edusa Gold (Lolita's drama teacher at Beardsley College) "Joan of Arc:"
The brakes were relined, the waterpipes unclogged, the valves ground, and a number of other repairs and improvements were paid for by not very mechanically-minded but prudent papa Humbert, so that the late Mrs. Humbert’s car was in respectable shape when ready to undertake a new journey.
We had promised Beardsley School, good old Beardsley School, that we would be back as soon as my Hollywood engagement came to an end (inventive Humbert was to be, I hinted, chief consultant in the production of a film dealing with “existentialism,” still a hot thing at the time). Actually I was toying with the idea of gently trickling across the Mexican border - I was braver now than last year - and there deciding what to do with my little concubine who was now sixty inches tall and weighed ninety pounds. We had dug out our tour books and maps. She had traced our route with immense zest. Was it thanks to those theatricals that she had now outgrown her juvenile jaded airs and was so adorably keen to explore rich reality? I experienced the queer lightness of dreams that pale but warm Sunday morning when we abandoned Professor Chem’s puzzled house and sped along Main Street toward the four-lane highway. My Love’s striped, black-and-white cotton frock, jauntry blue with the large beautifully cut aquamarine on a silver chainlet, which gemmed her throat: a spring rain gift from me. We passed the New Hotel, and she laughed. “A penny for your thoughts,” I said and she stretched out her palm at once, but at that moment I had to apply the breaks rather abruptly at a red light. As we pulled up, another car came to a gliding stop alongside, and a very striking looking, athletically lean young woman (where had I seen her?) with a high complexion and shoulder-length brilliant bronze hair, greeted Lo with a ringing “Hi!” - and then, addressing me, effusively, edusively (placed!), stressing certain words, said: “What a shame it was to tear Dolly away from the play - you should have heard the author raving about her after that rehearsal - ” “Green light, you dope,” said Lo under her breath, and simultaneously, waving in bright adieu a bangled arm, Joan of Arc (in a performance we saw at the local theatre) violently outdistanced us to swerve into Campus Avenue.
“Who was it exactly? Vermont or Rumpelmeyer?”
“No - Edusa Gold - the gal who coaches us.”
“I was not referring to her. Who exactly concocted that play?”
“Oh! Yes, of course. Some old woman, Clare Something, I guess. There was quite a crowd of them there.”
“So she complimented you?”
“Complimented my eye - she kissed me on my pure brow” - and my darling emitted that new yelp of merriment which - perhaps in connection with her theatrical mannerisms - she had lately begun to affect.
“You are a funny creature, Lolita,” I saidor some such words. “Naturally, I am overjoyed you gave up that absurd stage business. But what is curious is that you dropped the whole thing only a week before its natural climax. Oh, Lolita, you should be careful of those surrenders of yours. I remember you gave up Ramsdale for camp, and camp for a joyride, and I could list other abrupt changes in your disposition. You must be careful. There are things that should never be given up. You must persevere. You should try to be a little nicer to me, Lolita. You should also watch your diet. The tour of your thigh, you know, should not exceed seventeen and a half inches. More might be fatal (I was kidding, of course). We are now setting out on a long happy journey. I remember…” (2.15)
In The Theosophical Glossary Helena Blavatsky (a Russian and American mystic, the cofounder of the Theosophical Society, born Helena von Hahn, 1831-1891) points out that Chem is the name of Egypt in the Qabbalah:
Ham ham (Hebrew) Ḥām [from ḥām hot, warm, heat, warmth] In the Bible, one of the three sons of Noah, from whom a great majority of the southern nations were supposed to trace their descent (Genesis 10). Some scholars have suggested that ham is equivalent to khem (black), the native name of Egypt, for Chem is the name of Egypt in the Qabbalah.
Noah and his sons in some instances represent the fifth root-race, in others the third root-race; or cosmically the collective symbol of the lower quaternary, “Ham being the Chaotic principle” (SD 2:597n).
Gryadushchiy Kham ("The Future Ham," 1906) is a famous essay by Merezhkovski, the author of Tayna tryokh: Egipet i Vavilon ("The Secret of the Three: Egypt and Babylon," 1925). Like Jean Farlow (Charlotte's friend in Ramsdale who falls in love with Humbert), Gaston Godin is an amateur painter. Gaston Bussière (1862–1928) was a prominent French Symbolist painter celebrated for his romantic and ethereal depictions of legendary heroines. His famous 1908 painting Joan of Arc captures a pivotal moment from the saint's life, illustrating the divine visions she experienced in her youth.