Describing his first meeting with Shade (the poet in VN’s novel Pale Fire, 1962), Kinbote (Shade’s mad commentator who imagines that he is Charles the Beloved, the last self-exiled king of Zembla) mentions his vegetarianism:
A few days later, however, namely on Monday, February 16, I was introduced to the old poet at lunch time in the faculty club. "At last presented credentials," as noted, a little ironically, in my agenda. I was invited to join him and four or five other eminent professors at his usual table, under an enlarged photograph of Wordsmith College as it was, stunned and shabby, on a remarkably gloomy summer day in 1903. His laconic suggestion that I "try the pork" amused me. I am a strict vegetarian, and I like to cook my own meals. Consuming something that had been handled by a fellow creature was, I explained to the rubicund convives, as repulsive to me as eating any creature, and that would include - lowering my voice - the pulpous pony-tailed girl student who served us and licked her pencil. Moreover, I had already finished the fruit brought with me in my briefcase, so I would content myself, I said, with a bottle of good college ale. My free and simple demeanor set everybody at ease. The usual questions were fired at me about eggnogs and milkshakes being or not being acceptable to one of my persuasion. Shade said that with him it was the other way around: he must make a definite effort to partake of a vegetable. Beginning a salad, was to him like stepping into sea water on a chilly day, and he had always to brace himself in order to attack the fortress of an apple. I was not yet used to the rather fatiguing jesting and teasing that goes on among American intellectuals of the inbreeding academic type and so abstained from telling John Shade in front of all those grinning old males how much I admired his work lest a serious discussion of literature degenerate into mere facetiation. Instead I asked him about one of my newly acquired students who also attended his course, a moody, delicate, rather wonderful boy; but with a resolute shake of his hoary forelock the old poet answered that he had ceased long ago to memorize faces and names of students and that the only person in his poetry class whom he could visualize was an extramural lady on crutches. "Come, come," said Professor Hurley, "do you mean, John, you really don't have a mental or visceral picture of that stunning blonde in the black leotard who haunts Lit. 202?" Shade, all his wrinkles beaming, benignly tapped Hurley on the wrist to make him stop. Another tormentor inquired if it was true that I had installed two ping-pong tables in my basement. I asked, was it a crime? No, he said, but why two? "Is that a crime?" I countered, and they all laughed. (Foreword)
According to Kinbote, he became a vegetarian after reading a story about an Italian despot:
Such things rankle - but what can Gradus do? The huddled fates engage in a great conspiracy against Gradus. One notes with pardonable glee that his likes are never granted the ultimate thrill of dispatching their victim themselves. Oh, surely, Gradus is active, capable, helpful, often indispensable. At the foot of the scaffold, on a raw and gray morning, it is Gradus who sweeps the night's powder snow off the narrow steps; but his long leathery face will not be the last one that the man who must mount those steps is to see in this world. It is Gradus who buys the cheap fiber valise that a luckier guy will plant, with a time bomb inside, under the bed of a former henchman. Nobody knows better than Gradus how to set a trap by means of a fake advertisement, but the rich old widow whom it hooks is courted and slain by another. When the fallen tyrant is tied, naked and howling, to a plank in the public square and killed piecemeal by the people who cut slices out, and eat them, and distribute his living body among themselves (as I read when young in a story about an Italian despot, which made of me a vegetarian for life), Gradus does not take part in the infernal sacrament: he points out the right instrument and directs the carving. (note to Line 171)
Des Cannibales ("Of Cannibals") is an essay by Montaigne. In his essay De la colère (“Of Anger,” Essais, Book Two, Chapter XXXI) Montaigne writes:
Au travers d'elle, les fautes nous apparoissent plus grandes, comme les corps au travers d'un brouillas : Celuy qui a faim, use de viande, mais celuy qui veut user de chastiement, n'en doit avoir faim ny soif.
Faults seen through passion appear much greater to us than they really are, as bodies do when seen through a mist. He who is hungry uses meat; but he who will make use of chastisement should have neither hunger nor thirst to it.
At the end of his Commentary Kinbote quotes a Zemblan saying that he heard from his nurse:
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 Book Three (chapter 13 “Of Experience”) of his Essays Montaigne quotes a Spanish saying:
Les medecins ploient ordinairement avec utilité leurs regles à la violence des envies aspres qui surviennent aux malades ; ce grand desir ne se peut imaginer si estranger et vicieux que nature ne s’y applique. Et puis, combien est-ce de contenter la fantasie’A mon opinion cette piece là importe de tout, au-moins au delà de toute autre. Les plus griefs et ordinaires maux sont ceux que la fantasie nous charge. Ce mot Espagnol me plaist à plusieurs visages : Defienda me Dios de my. Je plains, estant malade, dequoy je n’ay quelque desir qui me donne ce contentement de l’assouvir ; à peine m’en destourneroit la medecine. Autant en fay-je sain : je ne vois guere plus qu’esperer et vouloir. C’est pitié d’estre alanguy et affoibly jusques au souhaiter.
Physicians modify their rules according to the violent longings that happen to sick persons, ordinarily with good success; this great desire cannot be imagined so strange and vicious, but that nature must have a hand in it. And then how easy a thing is it to satisfy the fancy? In my opinion; this part wholly carries it, at least, above all the rest. The most grievous and ordinary evils are those that fancy loads us with; this Spanish saying pleases me in several aspects:
"Defenda me Dios de me."
["God defend me from myself."]
I am sorry when I am sick, that I have not some longing that might give me the pleasure of satisfying it; all the rules of physic would hardly be able to divert me from it. I do the same when I am well; I can see very little more to be hoped or wished for. 'Twere pity a man should be so weak and languishing, as not to have even wishing left to him.
Gradus, as Kinbote describes him, has no desires at all. After completing his work on Shade’s poem Kinbote commits suicide (following the example of Hazel Shade and Jakob Gradus). According to Kinbote, he was nicknamed the Great Beaver (btw., beavers are vegetarians) because of his beard:
Alas, my peace of mind was soon to be shattered. The thick venom of envy began squirting at me as soon as academic suburbia realized that John Shade valued my society above that of all other people. Your snicker, my dear Mrs. C., did not escape our notice as I was helping the tired old poet to find his galoshes after that dreary get-together party at your house. One day I happened to enter the English Literature office in quest of a magazine with the picture of the Royal Palace in Onhava, which I wanted my friend to see, when I overheard a young instructor in a green velvet jacket, whom I shall mercifully call Gerald Emerald, carelessly saying in answer to something the secretary had asked: "I guess Mr. Shade has already left with the Great Beaver." Of course I am quite tall, and my brown beard is of a rather rich tint and texture; the silly cognomen evidently applied to me, but was not worth noticing, and after calmly taking the magazine from a pamphlet-cluttered table, I contented myself on my way out with pulling Gerald Emerald's bow-tie loose with a deft jerk of my fingers as I passed by him. (Foreword)
In the preceding paragraph of his essay “Of Experience” Montaigne quotes Martial:
Il y a du malheur certes, et du miracle, à confesser en quelle foiblesse d’ans je me rencontray premierement en sa subjection. Ce fut bien rencontre, car ce fut long temps avant l’aage de choix et de cognoissance. Il ne me souvient point de moy de si loing. Et peut on marier ma fortune à celle de Quartilla, qui n’avoit point memoire de son fillage.
Inde tragus celerésque pili, mirandaque matri
Barba meae.
'Tis certainly a misfortune and a miracle at once to confess at what a tender age I first came under the subjection of love: it was, indeed, by chance; for it was long before the years of choice or knowledge; I do not remember myself so far back; and my fortune may well be coupled with that of Quartilla, who could not remember when she was a maid:
"Inde tragus, celeresque pili, mirandaque matri
Barba meae."
["Thence the odour of the arm-pits, the precocious hair, and the
beard which astonished my mother."—Martial, xi. 22, 7.]
which reminds one of Fleur de Fyler’s three mousepits:
It was warm in the evening sun. She wore on the second day of their ridiculous cohabitation nothing except a kind of buttonless and sleeveless pajama top. The sight of her four bare limbs and three mousepits (Zemblan anatomy) irritated him, and while pacing about and pondering his coronation speech, he would toss towards her, without looking, her shorts or a terrycloth robe. Sometimes, upon returning to the comfortable old chair he would find her in it contemplating sorrowfully the picture of a bogtur (ancient warrior) in the history book. He would sweep her out of his chair, his eyes still on his writing pad, and stretching herself she would move over to the window seat and its dusty sunbeam; but after a while she tried to cuddle up to him, and he had to push away her burrowing dark curly head with one hand while writing with the other or detach one by one her little pink claws from his sleeve or sash. (note to Line 80)
In bogtur there is Bog (God) and tur (aurochs). The characters of Slovo o polku Igoreve ("The Song of Igor's Campaign") include Buy Tur Vsevolod (Wild Bull Vsevolod, Igor's brother). The "real" name of the poet Shade, his commentator Kinbote and his murderer Gradus seems to be Vsevolod Botkin. An American scholar of Russian descent, Professor Botkin went mad and became Shade, Kinbote and Gradus after the tragic death of his daughter Nadezhda (Hazel Shade’s "real" name). There is a hope (nadezhda) that, when Kinbote completes his work on Shade’s poem and commits suicide (on Oct. 19, 1959, the anniversary of Pushkin’s Lyceum), Botkin, like Count Vorontsov (a target of Pushkin's epigrams, "half-milord, half-merchant, etc."), will be full again.
In the preceding paragraph of his essay “Of Experience” Montaigne quotes Ovid's Amores:
Et si ay fait ceder à mon plaisir, bien largement, toute conclusion medicinalle. Et me suis jeune,
Quem circumcursans huc atque huc saepe Cupido
Fulgebat, crocina splendidus in tunica,
presté autant licentieusement et inconsideréement qu’autre au desir qui me tenoit saisi,
Et militavi non sine gloria,
plus toutesfois en continuation et en durée qu’en saillie :
Sex me vix memini sustinuisse vices.
I never received harm by any action that was very pleasant to me; and accordingly have made all medicinal conclusions largely give way to my pleasure; and I have, when I was young,
"Quem circumcursans huc atque huc saepe Cupido
Fulgebat crocink splendidus in tunic."
["When Cupid, fluttering round me here and there, shone in his rich purple mantle."—Catullus, lxvi. 133.]
given myself the rein as licentiously and inconsiderately to the desire that was predominant in me, as any other whomsoever:
"Et militavi non sine gloria;"
["And I have played the soldier not ingloriously." —Horace, Od., iii. 26, 2.]
yet more in continuation and holding out, than in sally:
"Sex me vix memini sustinuisse vices."
["I can scarcely remember six bouts in one night"—Ovid, Amor., iii. 7, 26.]
Memini (Lat., "I remember") brings to mind minamin ("my darling" in Zemblan, a word used by Kinbote's nurse) and "I remember" (a phrase used by Kinbote: "I remember my Zemblan nurse telling me, a little man of six in the throes of adult insomnia, etc."). Ovid is the author of The Metamorphoses. Odon's half-brother Nodo (a cardsharp and despicable traitor) brings to mind Modo vir, modo femina (now a man, now a woman), a line from The Metamorphoses used by Pushkin as the epigraph to his mock epic in octaves Domik v Kolomne ("A Small Cottage in Kolomna," 1830). At the end of his poem K Ovidiyu ("To Ovid," 1821) Pushkin mentions his priznatel'naya ten' (grateful shade) and peaceful muses who were kind to him:
Утешься; не увял Овидиев венец!
Увы, среди толпы затерянный певец,
Безвестен буду я для новых поколений,
И, жертва темная, умрет мой слабый гений
С печальной жизнию, с минутною молвой...
Но если, обо мне потомок поздний мой
Узнав, придет искать в стране сей отдаленной
Близ праха славного мой след уединенный —
Брегов забвения оставя хладну сень,
К нему слетит моя признательная тень,
И будет мило мне его воспоминанье.
Да сохранится же заветное преданье:
Как ты, враждующей покорствуя судьбе,
Не славой — участью я равен был тебе.
Здесь, лирой северной пустыни оглашая,
Скитался я в те дни, как на брега Дуная
Великодушный грек свободу вызывал,
И ни единый друг мне в мире не внимал;
Но чуждые холмы, поля и рощи сонны,
И музы мирные мне были благосклонны.
A few momemts before the poet's death Kinbote asks Shade if the muse has been kind to him:
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." (note to Line 991)
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”). Chapter XXVIII of Book One of Montaigne's Essais is entitled Vingt et neuf sonnets d'Estienne de La Boetie ("Nine-and-twenty sonnets of Estienne de la Boetie").
In his essay "Of Experience" Montaigne says that every place swarms with commentaries; of authors there is great scarcity:
Il y a plus affaire à interpreter les interpretations qu’à interpreter les choses, et plus de livres sur les livres que sur autre subject : nous ne faisons que nous entregloser. Tout fourmille de commentaires ; d’auteurs, il en est grand cherté. Le principal et plus fameux sçavoir de nos siecles, est-ce pas sçavoir entendre les sçavans ? Est-ce pas la fin commune et derniere de tous estudes ? Nos opinions s’entent les unes sur les autres. La premiere sert de tige à la seconde, la seconde à la tierce. Nous eschellons ainsi de degré en degré. Et advient de là que le plus haut monté a souvent plus d’honneur que de mérite ; car il n’est monté que d’un grain sur les espaules du penultime.
There is more ado to interpret interpretations than to interpret things, and more books upon books than upon any other subject; we do nothing but comment upon one another. Every place swarms with commentaries; of authors there is great scarcity. Is it not the principal and most reputed knowledge of our later ages to understand the learned? Is it not the common and final end of all studies? Our opinions are grafted upon one another; the first serves as a stock to the second, the second to the third, and so forth; thus step by step we climb the ladder; whence it comes to pass that he who is mounted highest has often more honor than merit, for he is got up but an inch upon the shoulders of the last, but one.
De degré en degré (step by step), a phrase used by Montaigne, brings to mind Jack Degree (one of Gradus’ aliases). There is тень (shade, shadow) in Монтень (Montaigne in Russian spelling).