According to 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), his landlord, Judge Goldsworth, resembles a Medusa-locked hag:
In the Foreword to this work I have had occasion to say something about the amenities of my habitation. The charming, charmingly vague lady (see note to line 691), who secured it for me, sight unseen, meant well, no doubt, especially since it was widely admired in the neighborhood for its "old-world spaciousness and graciousness." Actually, it was an old, dismal, white-and-black, half-timbered house, of the type termed wodnaggen in my country, with carved gables, drafty bow windows and a so-called "semi-noble" porch, surmounted by a hideous veranda. Judge Goldsworth had a wife, and four daughters. Family photographs met me in the hallway and pursued me from room to room, and although I am sure that Alphina (9), Betty (10), Candida (12), and Dee (14) will soon change from horribly cute little schoolgirls to smart young ladies and superior mothers, I must confess that their pert pictures irritated me to such an extent that finally I gathered them one by one and dumped them all in a closet under the gallows row of their cellophane-shrouded winter clothes. In the study I found a large picture of their parents, with sexes reversed, Mrs. G. resembling Malenkov, and Mr. G. a Medusa-locked hag, and this I replaced by the reproduction of a beloved early Picasso: earth boy leading raincloud horse. I did not bother, though, to do much about the family books which were also all over the house - four sets of different Children's Encyclopedias, and a stolid grown-up one that ascended all the way from shelf to shelf along a flight of stairs to burst an appendix in the attic. Judging by the novels in Mrs. Goldsworth's boudoir, her intellectual interests were fully developed, going as they did from Amber to Zen. The head of this alphabetic family had a library too, but this consisted mainly of legal works and a lot of conspicuously lettered ledgers. All the layman could glean for instruction and entertainment was a morocco-bound album in which the judge had lovingly pasted the life histories and pictures of people he had sent to prison or condemned to death: unforgettable faces of imbecile hoodlums, last smokes and last grins, a strangler's quite ordinary-looking hands, a self-made widow, the close-set merciless eyes of a homicidal maniac (somewhat resembling, I admit, the late Jacques d'Argus), a bright little parricide aged seven ("Now, sonny, we want you to tell us -"), and a sad pudgy old pederast who had blown up his blackmailer. What rather surprised me was that he, my learned landlord, and not his "missus," directed the household. Not only had he left me a detailed inventory of all such articles as cluster around a new tenant like a mob of menacing natives, but he had taken stupendous pains to write out on slips of paper recommendations, explanations, injunctions and supplementary lists. Whatever I touched on the first day of my stay yielded a specimen of Goldsworthiana. I unlocked the medicine chest in the second bathroom, and out fluttered a message advising me that the slit for discarded safety blades was too full to use. I opened the icebox, and it warned me with a bark that "no national specialties with odors hard to get rid of" should be placed therein. I pulled out the middle drawer of the desk in the study - and discovered a catalogue raisonné of its meager contents which included an assortment of ashtrays, a damask paperknife (described as "one ancient dagger brought by Mrs. Goldsworth's father from the Orient"), and an old but unused pocket diary optimistically maturing there until its calendric correspondencies came around again. Among various detailed notices affixed to a special board in the pantry, such as plumbing instructions, dissertations on electricity, discourses on cactuses and so forth, I found the diet of the black cat that came with the house:
Mon, Wed, Fri: Liver
Tue, Thu, Sat: Fish
Sun: Ground meat
(All it got from me was milk and sardines; it was a likable little creature but after a while its movements began to grate on my nerves and I farmed it out to Mrs. Finley, the cleaning woman.)
But perhaps the funniest note concerned the manipulations of the window curtains which had to be drawn in different ways at different hours to prevent the sun from getting at the upholstery. A description of the position of the sun, daily and seasonal, was given for the several windows, and if I had heeded all this I would have been kept as busy as a participant in a regatta. A footnote, however, generously suggested that instead of manning the curtains, I might prefer to shift and reshift out of sun range the more precious pieces of furniture (two embroidered armchairs and a heavy "royal console") but should do it carefully lest I scratch the wall moldings. I cannot, alas, reproduce the meticulous schedule of these transposals but seem to recall that I was supposed to castle the long way before going to bed and the short way first thing in the morning. My dear Shade roared with laughter when I led him on a tour of inspection and had him find some of those bunny eggs for himself. Thank God, his robust hilarity dissipated the atmosphere of damnum infectum in which I was supposed to dwell. On his part, he regaled me with a number of anecdotes concerning the judge's dry wit and courtroom mannerisms; most of these anecdotes were doubtless folklore exaggerations, a few were evident inventions, and all were harmless. He did not bring up, my sweet old friend never did, ridiculous stories about the terrifying shadows that Judge Goldsworth's gown threw across the underworld, or about this or that beast lying in prison and positively dying of raghdirst (thirst for revenge) - crass banalities circulated by the scurrilous and the heartless - by all those for whom romance, remoteness, sealskin-lined scarlet skies, the darkening dunes of a fabulous kingdom, simply do not exist. But enough of this. Let us turn to our poet's windows. I have no desire to twist and batter an unambiguous apparatus criticus into the monstrous semblance of a novel. (note to Lines 47-48)
In Sonnet XX of his cycle Stella Maris (1884) John Addington Symonds (1840-93, a gay poet and literary critic who had a wife and four daughters) mentions the Medusa-like head of his lover:
Thou art so frank, so musical; thy smile
And speech responsive to the negligent
Lilt of thy limbs; thy laughter rippling sent
Like waves in summer round a windless isle;
That I dare half believe no purposed wile,
Dark scheme or greed for gain or discontent,
Lurk in thy breast, but fair thoughts innocent,
Unbargained love and friendship void of guile.
Dare I believe this? Dare I dream that thou,
The dawn-star of this Maya-city spread
A foam-film on the waters, 'neath that brow
Alive with latent lightnings, and the head
Medusa-like where smouldering passions glow,
Hidest no mystery, no deep shame, no dread?
Stella Maris (the star of the sea, identified by Symonds in his Memoirs as the Venetian gondolier Angelo Fusato) brings to mind Stella Lazurchik, an Americanized Kashube who married Sinyavin’s son Blue (Starover Blue’s father):
Presumably, permission from Prof. Blue was obtained but even so the plunging of a real person, no matter how sportive and willing, into an invented milieu where he is made to perform in accordance with the invention, strikes one as a singularly tasteless device, especially since other real-life characters, except members of the family, of course, are pseudonymized in the poem.
This name, no doubt, is most tempting. The star over the blue eminently suits an astronomer though actually neither his first nor second name bears any relation to the celestial vault: the first was given him in memory of his grandfather, a Russian starover (accented, incidentally, on the ultima), that is, Old Believer (member of a schismatic sect), named Sinyavin, from siniy, Russ. "blue." This Sinyavin migrated from Saratov to Seattle and begot a son who eventually changed his name to Blue and married Stella Lazurchik, an Americanized Kashube. So it goes. Honest Starover Blue will probably be surprised by the epithet bestowed upon him by a jesting Shade. The writer feels moved to pay here a small tribute to the amiable old freak, adored by everybody on the campus and nicknamed by the students Colonel Starbottle, evidently because of his exceptionally convivial habits. After all, there were other great men in our poet's entourage - for example, that distinguished Zemblan scholar Oscar Nattochdag. (note to Line 627: The great Starover Blue)
Natt och dag means in Swedish "night and day." In his poem The Ballad of Reading Gaol (1898) Oscar Wilde repeats the phrase "night and day" three times. In Oscar Wilde's essay The Decay of Lying: an Observation (1891) Vivian mentions the transformation of Dr. Jekyll in R. L. Stevenson's Strange Case of Dr Jekyll and Mr Hyde (1886):
‘Even Mr. Robert Louis Stevenson, that delightful master of delicate and fanciful prose, is tainted with this modern vice, for we know positively no other name for it. There is such a thing as robbing a story of its reality by trying to make it too true, and The Black Arrow is so inartistic as not to contain a single anachronism to boast of, while the transformation of Dr. Jekyll reads dangerously like an experiment out of the Lancet.
Stevenson likely based the dual identity of his novella's titular characters on the "double life" Symonds lived in relation to his sexuality. However, in his correspondence with Stevenson after reading Jekyll and Hyde, Symonds expresses regret at the protagonist's ignominious end, wishing that Jekyll had been afforded a greater degree of dignity: "At last I have read Dr Jekyll. It makes me wonder whether a man has the right to so scrutinize 'the abysmal deeps of personality.' It is indeed a dreadful book, more dreadful because of a certain moral callousness, a want of sympathy, a shutting out of hope. [...] As a piece of literary work, it seems to me the finest you have done [...] But it has left such a deeply painful impression on my heart that I do not know how I am ever to turn to it again."
"A certain moral callousness" brings to mind R. L. Stevenson's Moral Emblems (1882), a book of verse illustrated by the author himself. In a letter of March 1882 to W. E. Henley R. L. Stevenson mentions the John Addington and Moral Emblems:
MY DEAR HENLEY, - . . . Last night we had a dinner-party, consisting of the John Addington, curry, onions (lovely onions), and beefsteak. So unusual is any excitement, that F. and I feel this morning as if we had been to a coronation. However I must, I suppose, write.
I was sorry about your female contributor squabble. 'Tis very comic, but really unpleasant. But what care I? Now that I illustrate my own books, I can always offer you a situation in our house - S. L. Osbourne and Co. As an author gets a halfpenny a copy of verses, and an artist a penny a cut, perhaps a proof-reader might get several pounds a year.
O that Coronation! What a shouting crowd there was! I obviously got a firework in each eye. The king looked very magnificent, to be sure; and that great hall where we feasted on seven hundred delicate foods, and drank fifty royal wines - QUEL COUP D'OEIL! but was it not over-done, even for a coronation - almost a vulgar luxury? And eleven is certainly too late to begin dinner. (It was really 6.30 instead of 5.30.)
Your list of books that Cassells have refused in these weeks is not quite complete; they also refused:-
1. Six undiscovered Tragedies, one romantic Comedy, a fragment of Journal extending over six years, and an unfinished Autobiography reaching up to the first performance of King John. By William Shakespeare.
2. The journals and Private Correspondence of David, King of Israel.
3. Poetical Works of Arthur, Iron Dook of Wellington, including a Monody on Napoleon.
4. Eight books of an unfinished novel, SOLOMON CRABB. By Henry Fielding.
5. Stevenson's Moral Emblems.
"The charming, charmingly vague lady" (as Kinbote calls Sylvia O'Donnell, Odon's mother) brings to mind Alfin the Vague (the father of Charles the Beloved). Describing his father's death, Kinbote mentions the angels who netted King Alfin's mild pure soul:
King's Alfin's absent-mindedness was strangely combined with a passion for mechanical things, especially for flying apparatuses. In 1912, he managed to rise in an umbrella-like Fabre "hydroplane" and almost got drowned in the sea between Nitra and Indra. He smashed two Farmans, three Zemblan machines, and a beloved Santos Dumont Demoiselle. A very special monoplane, Blenda IV, was built for him in 1916 by his constant "aerial adjutant" Colonel Peter Gusev (later a pioneer parachutist and, at seventy, one of the greatest jumpers of all time), and this was his bird of doom. On the serene, and not too cold, December morning that the angels chose to net his mild pure soul, King Alfin was in the act of trying solo a tricky vertical loop that Prince Andrey Kachurin, the famous Russian stunter and War One hero, had shown him in Gatchina. Something went wrong, and the little Blenda was seen to go into an uncontrolled dive. Behind and above him, in a Caudron biplane, Colonel Gusev (by then Duke of Rahl) and the Queen snapped several pictures of what seemed at first a noble and graceful evolution but then turned into something else. At the last moment, King Alfin managed to straighten out his machine and was again master of gravity when, immediately afterwards, he flew smack into the scaffolding of a huge hotel which was being constructed in the middle of a coastal heath as if for the special purpose of standing in a king's way. This uncompleted and badly gutted building was ordered razed by Queen Blenda who had it replaced by a tasteless monument of granite surmounted by an improbable type of aircraft made of bronze. The glossy prints of the enlarged photographs depicting the entire catastrophe were discovered one day by eight-year-old Charles Xavier in the drawer of a secretary bookcase. In some of these ghastly pictures one could make out the shoulders and leathern casque of the strangely unconcerned aviator, and in the penultimate one of the series, just before the white-blurred shattering crash, one distinctly saw him raise one arm in triumph, and reassurance. The boy had hideous dreams after that but his mother never found out that he had seen those infernal records. (note to Line 71)
The angels who netted King Alfin's mild pure soul bring to mind Angelo Fusato (Symonds' lover). King Alfin and Alphina (the youngest of Judge Goldsworth's four daughters) make one think of Alf Sjöberg (the director of the 1960 Swedish drama film The Judge) and of Alphonse Daudet (1840-97), the author of Les Rois en Exil (1879). In a letter of March 1882 to Alexander Ireland R. L. Stevenson praises Daudet's novel:
The best of the present French novelists seems to me, incomparably, Daudet. LES ROIS EN EXIL comes very near being a masterpiece. For Zola I have no toleration, though the curious, eminently bourgeois, and eminently French creature has power of a kind. But I would he were deleted. I would not give a chapter of old Dumas (meaning himself, not his collaborators) for the whole boiling of the Zolas. Romance with the smallpox — as the great one: diseased anyway and blackhearted and fundamentally at enmity with joy.
In his novel Nana (1880) Émile Zola has Nana die a horrible death in July 1870 from smallpox. The Russian word for smallpox is ospa (ospinka or ospina means a pockmark). Describing the family dinner in "Ardis the Second," Van Veen (the narrator and main character in VN’s novel Ada, 1969) mentions Dr Stella Ospenko’s ospedale (hospital):
Demon popped into his mouth a last morsel of black bread with elastic samlet, gulped down a last pony of vodka and took his place at the table with Marina facing him across its oblong length, beyond the great bronze bowl with carved-looking Calville apples and elongated Persty grapes. The alcohol his vigorous system had already imbibed was instrumental, as usual, in reopening what he gallicistically called condemned doors, and now as he gaped involuntarily as all men do while spreading a napkin, he considered Marina’s pretentious ciel-étoilé hairdress and tried to realize (in the rare full sense of the word), tried to possess the reality of a fact by forcing it into the sensuous center, that here was a woman whom he had intolerably loved, who had loved him hysterically and skittishly, who insisted they make love on rugs and cushions laid on the floor (‘as respectable people do in the Tigris-Euphrates valley’), who would woosh down fluffy slopes on a bobsleigh a fortnight after parturition, or arrive by the Orient Express with five trunks, Dack’s grandsire, and a maid, to Dr Stella Ospenko’s ospedale where he was recovering from a scratch received in a sword duel (and still visible as a white weal under his eighth rib after a lapse of nearly seventeen years). How strange that when one met after a long separation a chum or fat aunt whom one had been fond of as a child the unimpaired human warmth of the friendship was rediscovered at once, but with an old mistress this never happened — the human part of one’s affection seemed to be swept away with the dust of the inhuman passion, in a wholesale operation of demolishment. He looked at her and acknowledged the perfection of the potage, but she, this rather thick-set woman, goodhearted, no doubt, but restive and sour-faced, glazed over, nose, forehead and all, with a sort of brownish oil that she considered to be more ‘juvenizing’ than powder, was more of a stranger to him than Bouteillan who had once carried her in his arms, in a feigned faint, out of a Ladore villa and into a cab, after a final, quite final row, on the eve of her wedding. (1.38)
Darkbloom (‘Notes to Ada’): Persty: Evidently Pushkin’s vinograd:
as elongated and transparent
as are the fingers of a girl.
(devï molodoy, jeune fille)
ciel-étoilé: starry sky.
Van's and Ada's father who dies in a mysterious airplane disaster above the Pacific (3.7), Demon Veen is associated with the hero of Lermontov's poem The Demon (1828-40). Stella Lazurchik brings to mind S glazami, polnymi lazurnogo ognya (With the eyes full of azure fire), a line in Lermontov's poem Kak chasto pyostroyu tolpoyu okruzhyon ("How often, surrounded by a motley crowd") dated January 1, 1840:
И странная тоска теснит уж грудь мою;
Я думаю об ней, я плачу и люблю,
Люблю мечты моей созданье
С глазами, полными лазурного огня,
С улыбкой розовой, как молодого дня
За рощей первое сиянье.
And sadness, very strange, lies my poor breast above:
I think about her, I weep and I do love,
I love my sacred dreams' creation
With eyes that full of ever-azure light,
With a rosy smile, as if, a grove behind,
The light of the young day's invasion.
(tr. E. Bonver)
In VN's novel Lolita (1955) January 1, 1935, is Lolita's birthday. January 1, 1870, is Van Veen's birthday in Ada. At the family dinner in "Ardis the Second" Demon uses the phrase s glazami (with the eyes):
'Marina,' murmured Demon at the close of the first course. 'Marina,' he repeated louder. 'Far from me' (a locution he favored) 'to criticize Dan's taste in white wines or the manners de vos domestiques. You know me, I'm above all that rot, I'm...' (gesture); 'but, my dear,' he continued, switching to Russian, 'the chelovek who brought me the pirozhki - the new man, the plumpish one with the eyes (s glazami) -'
'Everybody has eyes,' remarked Marina drily.
'Well, his look as if they were about to octopus the food he serves. But that's not the point. He pants, Marina! He suffers from some kind of odïshka (shortness of breath). He should see Dr Krolik. It's depressing. It's a rhythmic pumping pant. It made my soup ripple.'
'Look, Dad,' said Van, 'Dr Krolik can't do much, because, as you know quite well, he's dead, and Marina can't tell her servants not to breathe, because, as you also know, they're alive.'
'The Veen wit, the Veen wit,' murmured Demon.
‘Exactly,’ said Marina. ‘I simply refuse to do anything about it. Besides poor Jones is not at all asthmatic, but only nervously eager to please. He’s as healthy as a bull and has rowed me from Ardisville to Ladore and back, and enjoyed it, many times this summer. You are cruel, Demon. I can’t tell him "ne pïkhtite," as I can’t tell Kim, the kitchen boy, not to take photographs on the sly — he’s a regular snap-shooting fiend, that Kim, though otherwise an adorable, gentle, honest boy; nor can I tell my little French maid to stop getting invitations, as she somehow succeeds in doing, to the most exclusive bals masqués in Ladore.’
‘That’s interesting,’ observed Demon.
‘He’s a dirty old man!’ cried Van cheerfully.
‘Van!’ said Ada.
‘I’m a dirty young man,’ sighed Demon.
‘Tell me, Bouteillan,’ asked Marina, ‘what other good white wine do we have — what can you recommend?’ The butler smiled and whispered a fabulous name.
Yes, oh, yes,’ said Demon. ‘Ah, my dear, you should not think up dinners all by yourself. Now about rowing — you mentioned rowing... Do you know that moi, qui vous parle, was a Rowing Blue in 1858? Van prefers football, but he’s only a College Blue, aren’t you Van? I’m also better than he at tennis — not lawn tennis, of course, a game for parsons, but "court tennis" as they say in Manhattan. What else, Van?’
‘You still beat me at fencing, but I’m the better shot. That’s not real sudak, papa, though it’s tops, I assure you.’
(Marina, having failed to obtain the European product in time for the dinner, had chosen the nearest thing, wall-eyed pike, or ‘dory,’ with Tartar sauce and boiled young potatoes.)
‘Ah!’ said Demon, tasting Lord Byron’s Hock. ‘This redeems Our Lady’s Tears.’ (1.38)
Darkbloom ('Notes to Ada'): ne pïkhtite: Russ., do not wheeze.
In his poem Neznakomka (“The Unknown Woman,” 1906) Alexander Blok mentions p’yanitsy s glazami krolikov (tipplers with the pink eyes of rabbits) who shout "In vino veritas!":
А рядом у соседних столиков
Лакеи сонные торчат,
И пьяницы с глазами кроликов
"In vino veritas!" кричат.
And nearby, at other tables,
waiters drowsily hover,
and tipplers with the pink eyes of rabbits
shout: In vino veritas!
(VN's translation)
In vino veritas (“in wine is truth”) brings to mind Colonel Starbottle (Starover Blue's nickname).
The date January 1 in Lermontov's poem "How often, surrounded by a motley crowd" offended Nicholas I, the tsar who allegedly said Sobake sobach'ya smert' (“A dog's death for a dog”) on learning of Lermontov's death. In his poem Rossiya ("Russia," 1924) Maximilian Voloshin mentions Nicholas I desyatki let udav'yimi glazami meduzivshiy zasechennuyu Rus' (who for decades with his eyes of a boa constrictor medused the whipped Russia):
Он вырос в смраде гатчинских казарм,
Его познал, вознёс и всхолил Павел.
«Дружку любезному» вставлял клистир
Державный мистик тою же рукою,
Что иступила посох Кузьмича
И сокрушила силу Бонапарта.
Его посев взлелял Николай,
Десятки лет удавьими глазами
Медузивший засеченную Русь. (3)
In his poem Voloshin quotes the tsar's words about Lermontov's death:
А между тем от голода, от мора,
От поражений, как и от побед,
Россию прёт и вширь, и ввысь — безмерно.
Её сознание уходит в рост,
На мускулы, на поддержанье массы,
На крепкий тяж подпружных обручей.
Пять виселиц на Кронверкской куртине
Рифмуют на Семёновском плацу;
Волы в Тифлис волочат «Грибоеда»,
Отправленного на смерть в Тегеран;
Гроб Пушкина ссылают под конвоем
На розвальнях в опальный монастырь;
Над трупом Лермонтова царь: «Собаке —
Собачья смерть» — придворным говорит;
Промозглым утром бледный Достоевский
Горит свечой, всходя на эшафот…
И всё тесней, всё гуще этот список… (3)
Voloshin mentions the mock execution of Dostoevski and the Petrashevskians on Jan. 3, 1850 (NS). Oscar Nattochdag's nickname, Netochka hints at Dostoevski's unfinished novel Netochka Nezvanov (1849). Dostoevski is the author of Dvoynik ("The Double," 1846). 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”).