At the end of his commentary to Shade's poem Kinbote (in VN’s novel Pale Fire, 1962, Shade’s commentator who imagines that he is Charles the Beloved, the last self-exiled king of Zembla) quotes a Zemblan saying "Gut mag alkan, Pern dirstan (God makes hungry, the Devil thirsty):”
Many years ago--how many I would not care to say--I remember my Zemblan nurse telling me, a little man of six in the throes of adult insomnia: "Minnamin, Gut mag alkan, Pern dirstan" (my darling, God makes hungry, the Devil thirsty). Well, folks, I guess many in this fine hall are as hungry and thirsty as me, and I'd better stop, folks, right here.
Yes, better stop. My notes and self are petering out. Gentlemen, I have suffered very much, and more than any of you can imagine. I pray for the Lord's benediction to rest on my wretched countrymen. My work is finished. My poet is dead.
"And you, what will you be doing with yourself, poor King, poor Kinbote?" a gentle young voice may inquire.
God will help me, I trust, to rid myself of any desire to follow the example of two other characters in this work. I shall continue to exist. I may assume other disguises, other forms, but I shall try to exist. I may turn up yet, on another campus, as an old, happy, healthy, heterosexual Russian, a writer in exile, sans fame, sans future, sans audience, sans anything but his art. I may join forces with Odon in a new motion picture: Escape from Zembla (ball in the palace, bomb in the palace square). I may pander to the simple tastes of theatrical critics and cook up a stage play, an old-fashioned Melodrama with three principals: a lunatic who intends to kill an imaginary king, another lunatic who imagines himself to be that king, and a distinguished old poet who stumbles by chance into the line of fire, and perishes in the clash between the two figments. Oh, I may do many things! History permitting, I may sail back to my recovered kingdom, and with a great sob greet the gray coastline and the gleam of a roof in the rain. I may huddle and groan in a madhouse. But whatever happens, wherever the scene is laid, somebody, somewhere, will quietly set out - somebody has already set out, somebody still rather far away is buying a ticket, is boarding a bus, a ship, a plane, has landed, is walking toward a million photographers, and presently he will ring at my door - a bigger, more respectable, more competent Gradus. (note to Line 1000)
In Pushkin’s Podrazhaniya koranu (“Imitations of the Quran,” 1824), a cycle of nine poepms, the last poem begins as follows:
И путник усталый на Бога роптал:
Он жаждой томился и тени алкал.
And the tired traveler grumbled at God:
he was thirsty and craved for a shade (teni alkal).
"Chego zh dusha ego alkala? (What did his soul crave?)" is the last line in Fyodor Glinka's poem Sud'ba Napoleona ("The Fate of Napoleon," 1821):
Там к небу клятвы и молитвы!
И свирепеет, слыша битвы,
В Стамбуле гордый оттоман.
Растут, с бедой, бесстрашных силы,
И крест венчает Термопилы!
И на Олимпе — ратный стан!...
Молва и слава зазвучала,
Но — не о нем... в могиле он,
И позабыт Наполеон!..
Чего ж душа его алкала?
The title of Glinka's poem brings to mind Vladimir Solovyov's essay Sud'ba Pushkina ("The Fate of Pushkin," 1897). In Chapter Two (XIV: 6-7) of Eugene Onegin Pushkin says that we all expect to be Napoleons:
Но дружбы нет и той меж нами.
Все предрассудки истребя,
Мы почитаем всех нулями,
А единицами — себя.
Мы все глядим в Наполеоны;
Двуногих тварей миллионы
Для нас орудие одно;
Нам чувство дико и смешно.
Сноснее многих был Евгений;
Хоть он людей, конечно, знал
И вообще их презирал, —
Но (правил нет без исключений)
Иных он очень отличал
И вчуже чувство уважал.
But in our midst there’s even no such friendship:
Having destroyed all the prejudices,
We deem all people naughts
And ourselves units.
We all expect to be Napoleons;
the millions of two-legged creatures
for us are only tools;
feeling to us is weird and ludicrous.
More tolerant than many was Eugene,
though he, of course, knew men
and on the whole despised them;
but no rules are without exceptions:
some people he distinguished greatly
and, though estranged from it, respected feeling.
"Dvunogikh tvarey milliony (the millions of two-legged creatures)" bring to mind a million photographers mentioned by Kinbote at the end of his commentary. The Zemblan word for “the Devil,” Pern seems to hint at Perun, the ancient Slavic god of thunder. Day, Perun, bulatnyi mech (Give me, Perun, a sword of damask steel) is a famous aria for the character Ruslan from Act II of Mikhail Glinka's opera Ruslan and Lyudmila (1842). On the other hand, there is Pern in sopernik (the Russian word for "rival"). "Mne snitsya sopernik schastlivyi (I dream of a fortunate rival)" is a line in Mikhail Glinka's romance (lyrics by Nestor Kukolnik) Somnenie ("Doubt," 1838). It is quoted by Van Veen in VN's novel Ada (1969):
‘My dear,’ said Van, ‘do help me. She told me about her Valentian estanciero but now the name escapes me and I hate bothering her.’
‘Only she never told you,’ said loyal Lucette, ‘so nothing could escape. Nope. I can’t do that to your sweetheart and mine, because we know you could hit that keyhole with a pistol.’
‘Please, little vixen! I’ll reward you with a very special kiss.’
‘Oh, Van,’ she said over a deep sigh. ‘You promise you won’t tell her I told you?’
‘I promise. No, no, no,’ he went on, assuming a Russian accent, as she, with the abandon of mindless love, was about to press her abdomen to his. ‘Nikak-s net: no lips, no philtrum, no nosetip, no swimming eye. Little vixen’s axilla, just that — unless’ — (drawing back in mock uncertainty) — ‘you shave there?’
‘I stink worse when I do,’ confided simple Lucette and obediently bared one shoulder.
‘Arm up! Point at Paradise! Terra! Venus!’ commanded Van, and for a few synchronized heartbeats, fitted his working mouth to the hot, humid, perilous hollow.
She sat down with a bump on a chair, pressing one hand to her brow.
‘Turn off the footlights,’ said Van. ‘I want the name of that fellow.’
‘Vinelander,’ she answered.
He heard Ada Vinelander’s voice calling for her Glass bed slippers (which, as in Cordulenka’s princessdom too, he found hard to distinguish from dance footwear), and a minute later, without the least interruption in the established tension, Van found himself, in a drunken dream, making violent love to Rose — no, to Ada, but in the rosacean fashion, on a kind of lowboy. She complained he hurt her ‘like a Tiger Turk.’ He went to bed and was about to doze off for good when she left his side. Where was she going? Pet wanted to see the album.
‘I’ll be back in a rubby,’ she said (tribadic schoolgirl slang), ‘so keep awake. From now on by the way, it’s going to be Chère-amie-fait-morata’ — (play on the generic and specific names of the famous fly) — ‘until further notice.’
‘But no sapphic vorschmacks,’ mumbled Van into his pillow.
‘Oh, Van,’ she said, turning to shake her head, one hand on the opal doorknob at the end of an endless room. ‘We’ve been through that so many times! You admit yourself that I am only a pale wild girl with gipsy hair in a deathless ballad, in a nulliverse, in Rattner’s "menald world" where the only principle is random variation. You cannot demand,’ she continued — somewhere between the cheeks of his pillow (for Ada had long vanished with her blood-brown book) — ‘you cannot demand pudicity on the part of a delphinet! You know that I really love only males and, alas, only one man.’
There was always something colorfully impressionistic, but also infantile, about Ada’s allusions to her affairs of the flesh, reminding one of baffle painting, or little glass labyrinths with two peas, or the Ardis throwing-trap — you remember? — which tossed up clay pigeons and pine cones to be shot at, or cockamaroo (Russian ‘biks’), played with a toy cue on the billiard cloth of an oblong board with holes and hoops, bells and pins among which the ping-pong-sized eburnean ball zigzagged with bix-pix concussions.
Tropes are the dreams of speech. Through the boxwood maze and bagatelle arches of Ardis, Van passed into sleep. When he reopened his eyes it was nine a.m. She lay curved away from him, with nothing beyond the opened parenthesis, its contents not yet ready to be enclosed, and the beloved, beautiful, treacherous, blue-black-bronze hair smelt of Ardis, but also of Lucette’s ‘Oh-de-grâce.’
Had she cabled him? Cancelled or Postponed? Mrs Viner — no, Vingolfer, no, Vinelander — first Russki to taste the labruska grape.
‘Mne snitsa saPERnik SHCHASTLEEVOY!’ (Mihail Ivanovich arcating the sand with his cane, humped on his bench under the creamy racemes).
‘I dream of a fortunate rival!’
In the meantime it’s Dr Hangover for me, and his strongest Kaffeina pill. (2.8)
Darkbloom (‘Notes to Ada’): Nikak-s net: Russ., certainly not.
famous fly: see p.109, Serromyia.
Vorschmacks: Germ., hors-d’oeuvres.
Dr Hangover brings to mind Kinbote's bad crapula:
Now there is nothing a lonesome man relishes more than an impromptu birthday party, and thinking - nay, feeling certain - that my unattended telephone had been ringing all day, I blithely dialed the Shades' number, and of course it was Sybil who answered.
"Bon soir, Sybil."
"Oh, hullo, Charles. Had a nice trip?"
"Well, to tell the truth -"
"Look, I know you want John but he is resting right now, and I'm frightfully busy. He'll call you back later, okay?"
"Later when - tonight?"
"No, tomorrow, I guess: There goes that doorbell. Bye-bye." Strange. Why should Sybil have to listen to doorbells when, besides the maid and the cook, two white-coated hired boys were around? False pride prevented me from doing what I should have done—taken my royal gift under my arm and serenely marched over to that inhospitable house. Who knows—I might have been rewarded at the back door with a drop of kitchen sherry. I still hoped there had been a mistake, and Shade would telephone. It was a bitter wait, and the only effect that the bottle of champagne I drank all alone now at this window, now at that, had on me was a bad crapula (hangover). (note to Line 181)