At the end of his Commentary 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) 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 Apukhtin’s poem Podrazhanie arabskomu (“Imitation of the Arabic,” 1855) Dager (disguised as a beggar) tells Nabek that he did not sleep for three days and three nights and that he is tormented by hunger and thirst:
«Ты беден?» — «Богатство меня не манит,
А голод терзает, и жажда томит
В пустыне бесследной, три дня и три ночи
Не ведали сна утомленные очи,
Из этой пустыни исторгни меня».
И слышит: «Садися ко мне на коня».
Podrazhanie arabskomu (“Imitation of the Arabic,” 1835) is a homoerotic poem by Pushkin:
Отрок милый, отрок нежный,
Не стыдись, навек ты мой;
Тот же в нас огонь мятежный,
Жизнью мы живем одной.
Не боюся я насмешек:
Мы сдвоились меж собой,
Мы точь в точь двойной орешек
Под единой скорлупой.
Sweet lad, tender lad,
Have no shame, you’re mine for good;
We share a sole insurgent fire,
We live in boundless brotherhood.
I do not fear the gibes of men;
One being split in two we dwell,
The kernel of a double nut
Embedded in a single shell.
In Pushkin’s Podrazhaniya koranu (“Imitations of the Koran,” 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).
Dvoynoy oreshek (a double nut) mentioned by Pushkin in "Imitation of the Arabic" brings to mind Hazel Shade, the poet’s daughter whose “real” name seems to be Nadezhda Botkin. After her tragic death, her father, Professor Vsevolod Botkin (an American scholar of Russian descent), went mad and became Shade, Kinbote and Gradus (the poet’s murderer). Nadezhda means "hope." There is a hope that, when Kinbote completes his work on Shade’s poem and commits suicide (on October 19, 1959, the anniversary of Pushkin’s Lyceum), Botkin, like Count Vorontsov (Pushkin’s boss in Odessa and a target of the poet’s epigrams, “half-milord, half-merchant,” etc.), will be “full” again.
Botkin is nikto b (none would) in reverse. In Pushkin’s little tragedy Mozart and Salieri (1830) Mozart uses the phrase nikto b:
Когда бы все так чувствовали силу
Гармонии! Но нет: тогда б не мог
И мир существовать; никто б не стал
Заботиться о нуждах низкой жизни;
Все предались бы вольному искусству.
If all could feel like you the power
of harmony! But no: the world
could not go on then. None would
bother about the needs of lowly life;
All would surrender to free art. (Scene II)
In Pushkin's little tragey Mozart mentions his bessonnitsa (insomnia):
Сальери
Что ты мне принёс?
Моцарт
Нет — так; безделицу. Намедни ночью
Бессонница моя меня томила,
И в голову пришли мне две, три мысли.
Сегодня их я набросал. Хотелось
Твоё мне слышать мненье; но теперь
Тебе не до меня.
Salieri
What did you bring me?
Mozart
This?
No, just a trifle. Late the other night,
As my insomnia was full upon me,
Brought some two, three ideas into my head;
Today I jot them down... O well, I hoped
To hear what you may think of this, but now
You're in no mood for me. (Scene I)
Zemblan for “my darling,” minnamin blends mon ami (Fr., my friend) with Mignon, a character in Goethe's Wilhelm Meisters Lehrjahre (“Wilhelm Meister's Apprenticeship,” 1795-96), and with madamina (It., my dear lady), the first word in the Catalogue Aria sung by Leporello (Don Giovanni’s servant) to Elvira in Act One of Mozart’s opera Don Giovanni (1787):
Madamina, il catalogo è questo
Delle belle che amò il padron mio;
un catalogo egli è che ho fatt'io;
Osservate, leggete con me.
In Italia seicento e quaranta;
In Alemagna duecento e trentuna;
Cento in Francia, in Turchia novantuna;
Ma in Ispagna son già mille e tre...
My dear lady, this is the list
Of the beauties my master has loved,
A list which I have compiled.
Observe, read along with me.
In Italy, six hundred and forty;
In Germany, two hundred and thirty-one;
A hundred in France; in Turkey, ninety-one;
But in Spain already one thousand and three...
In Pushkin’s little tragedy Salieri poisons Mozart. A schoolmate and close friend of Tchaikovsky (the composer who set to music Lev Mei’s Russian version of Mignon’s song in Goethe's Wilhelm Meisters Lehrjahre and who died of cholera after drinking a glass of raw water), Apukhtin is the author of Mukhi (“Flies,” 1873):
Мухи, как чёрные мысли, весь день не дают мне покою:
Жалят, жужжат и кружатся над бедной моей головою!
Сгонишь одну со щеки, а на глаз уж уселась другая,
Некуда спрятаться, всюду царит ненавистная стая,
Валится книга из рук, разговор упадает, бледнея…
Эх, кабы вечер придвинулся! Эх, кабы ночь поскорее!
Чёрные мысли, как мухи, всю ночь не дают мне покою:
Жалят, язвят и кружатся над бедной моей головою!
Только прогонишь одну, а уж в сердце впилася другая, —
Вся вспоминается жизнь, так бесплодно в мечтах прожитая!
Хочешь забыть, разлюбить, а всё любишь сильней и больнее…
Эх! кабы ночь настоящая, вечная ночь поскорее!
In the first line of his poem Mukhi kak mysli (“Flies as Thoughts,” 1904), dedicated to the memory of Apukhtin, Nik. T-o (“Mr. Nobody,” I. Annenski’s penname) says that he is tired of insomnias and dreams:
Я устал от бессонниц и снов,
На глаза мои пряди нависли:
Я хотел бы отравой стихов
Одурманить несносные мысли.
Я хотел бы распутать узлы…
Неужели там только ошибки?
Поздней осенью мухи так злы,
Их холодные крылья так липки.
Мухи-мысли ползут, как во сне,
Вот бумагу покрыли, чернея…
О, как, мёртвые, гадки оне…
Разорви их, сожги их скорее.
Shade’s poem is almost finished when the author is killed by Gradus. Kinbote believes that, to be completed, Shade’s poem needs but one line (Line 1000, identical to Line 1: “I was the shadow of the waxwing slain”). But it seems that, like some sonnets, Shade's poem also needs a coda (Line 1001: “By its own double in the windowpane”). Dvoynik (“The Double,” 1904) is a poem by Nik. T-o:
Не я, и не он, и не ты,
И то же, что я, и не то же:
Так были мы где-то похожи,
Что наши смешались черты.
В сомненьи кипит ещё спор,
Но, слиты незримой четою,
Одной мы живём и мечтою,
Мечтою разлуки с тех пор.
Горячешный сон волновал
Обманом вторых очертаний,
Но чем я глядел неустанней,
Тем ярче себя ж узнавал.
Лишь полога ночи немой
Порой отразит колыханье
Моё и другое дыханье,
Бой сердца и мой и не мой…
И в мутном круженьи годин
Всё чаще вопрос меня мучит:
Когда наконец нас разлучат,
Каким же я буду один?
Btw., at the beginning of his poem Vo vremya bolezni ("During an illness," 1884) Apukhtin says that his temperature is sorok gradusov (forty degrees):
Мне всё равно, что я лежу больной,
Что чай мой горек, как микстура,
Что голова в огне, что пульс неровен мой,
Что сорок градусов моя температура!