Describing an amnesiac person whom he and Rita discovered in their hotel room sleeping in their bed, Humbert Humbert (the narrator and main character in VN's novel Lolita, 1955) exclaims: "Oh Mnemosyne, sweetest and most mischievous of muses!":
The oddly prepubescent curve of her back, her ricey skin, her slow languorous columbine kisses kept me from mischief. It is not the artistic aptitudes that are secondary sexual characters as some shams and shamans have said; it is the other way around: sex is but the ancilla of art. One rather mysterious spree that had interesting repercussions I must notice. I had abandoned the search: the fiend was either in Tartary or burning away in my cerebellum (the flames fanned by my fancy and grief) but certainly not having Dolores Haze play champion tennis on the Pacific Coast. One afternoon, on our way back East, in a hideous hotel, the kind where they hold conventions and where labeled, fat, pink men stagger around, all first names and business and booze - dear Rita and I awoke to find a third in our room, a blond, almost albino, young fellow with white eyelashes and large transparent ears, whom neither Rita nor I recalled having ever seen in our sad lives. Sweating in thick dirty underwear, and with old army boots on, he lay snoring on the double bed beyond my chaste Rita. One of his front teeth was gone, amber pustules grew on his forehead. Ritochka enveloped her sinuous nudity in my raincoat - the first thing at hand; I slipped on a pair of candy-striped drawers; and we took stock of the situation. Five glasses had been used, which in the way of clues, was an embarrassment of riches. The door was not properly closed. A sweater and a pair of shapeless tan pants lay on the floor. We shook their owner into miserable consciousness. He was completely amnesic. In an accent that Rita recognized as pure Brooklynese, he peevishly insinuated that somehow we had purloined his (worthless) identity. We rushed him into his clothes and left him at the nearest hospital, realizing on the way that somehow or other after forgotten gyrations, we were in Grainball. Half a year later Rita wrote the doctor for news. Jack Humbertson as he had been tastelessly dubbed was still isolated from his personal past. Oh Mnemosyne, sweetest and most mischievous of muses! (2.26)
Actually, Mnemosyne (the ancient Greek goddess of memory) is the mother of nine muses. In Joseph Sheridan Le Fanu's novel The House by the Churchyard (1863) Puddock calls Melpomene (the muse of tragedy) "the most jealous of the Muses:"
Between ourselves, Puddock was short and fat, very sentimental, and a little bit of a gourmet; his desk stuffed with amorous sonnets and receipts for side-dishes; he, always in love, and often in the kitchen, where, under the rose, he loved to direct the cooking of critical little plats, very good-natured, rather literal, very courteous, a chevallier, indeed, sans reproche. He had a profound faith in his genius for tragedy, but those who liked him best could not help thinking that his plump cheeks, round, little light eyes, his lisp, and a certain lack-a-daisical, though solemn expression of surprise, which Nature, in one of her jocular moods, seemed to have fixed upon his countenance, were against his shining in that walk of the drama. He was blessed, too, with a pleasant belief in his acceptance with the fair sex, but had a real one with his comrades, who knew his absurdities and his virtues, and laughed at and loved him.
'But hang it, there 'th no uthe in doing things by halves. Melpomene's the most jealous of the Muses. I tell you if you stand well in her gratheth, by Jove, Thir, you mutht give yourthelf up to her body and thoul. How the deuthe can a fellow that's out at drill at hicth in the morning, and all day with his head filled with tacticth and gunnery, and—and—'
'And 'farced pigeons' and lovely women,' said Devereux. (Chapter V. How the Royal Irish Artillery Entertained some of the Neighbours at Dinner)
Ealier in the same chapter of Sheridan Le Fanu's novel Dr. Walsingham mentions "this versipellous or Protean impostor:"
Now, Dr. Walsingham was a great reader of out-of-the-way lore, and retained it with a sometimes painful accuracy; and he forthwith began—
'There is, my Lord Castlemallard, a curious old tract of the learned Van Helmont, in which he says, as near as I can remember his words, that magnetism is a magical faculty, which lieth dormant in us by the opiate of primitive sin, and, therefore, stands in need of an excitator, which excitator may be either good or evil; but is more frequently Satan himself, by reason of some previous oppignoration or compact with witches. The power, indeed, is in the witch, and not conferred by him; but this versipellous or Protean impostor—these are his words—will not suffer her to know that it is of her own natural endowment, though for the present charmed into somnolent inactivity by the narcotic of primitive sin.'
Humbert Humbert calls his pursuer (Clare Quilty, a playwright and pornographer whom Humbert murders for abducting Lolita from the Elphinstone hospital) "a veritable Proteus of the highway:"
A veritable Proteus of the highway, with bewildering ease he switched from one vehicle to another. This technique implied the existence of garages specializing in “stage-automobile” operations, but I never could discover the remises he used. He seemed to patronize at first the Chevrolet genus, beginning with a Campus Cream convertible, then going on to a small Horizon Blue sedan, and thenceforth fading into Surf Gray and Driftwood Gray. Then he turned to other makes and passed through a pale dull rainbow of paint shades, and one day I found myself attempting to cope with the subtle distinction between our own Dream Blue Melmoth and the Crest Blue Oldsmobile he had rented; grays, however, remained his favorite cryptochromism, and, in agonizing nightmares, I tried in vain to sort out properly such ghosts as Chrysler’s Shell Gray, Chevrolet’s Thistle Gray, Dodge’s French Gray… (2.19)
In Canto Four of his poem John Shade (the poet in VN’s novel Pale Fire, 1962) calls his odd muse “my versipel:”
Dressing in all the rooms, I rhyme and roam
Throughout the house with, in my fist, a comb
Or a shoehorn, which turns into the spoon
I eat my egg with. In the afternoon
You drive me to the library. We dine
At half past six. And that odd muse of mine,
My versipel, is with me everywhere,
In carrel and in car, and in my chair. (ll. 941-948)