In Canto One of his poem John Shade (the poet in VN's novel Pale Fire, 1962) describes his house in New Wye (a small University town in New England) and mentions the phantom of his little daughter's swing:
I had a favorite young shagbark there
With ample dark jade leaves and a black, spare,
Vermiculated trunk. The setting sun
Bronzed the black bark, around which, like undone
Garlands, the shadows of the foliage fell.
It is now stout and rough; it has done well.
White butterflies turn lavender as they
Pass through its shade where gently seems to sway
The phantom of my little daughter's swing. (ll. 49-57)
The Russian word for both "swing" and "seesaw" is kacheli. In VN's first novel Mashen'ka ("Mary," 1926) Alfyorov (Mashen'ka's husband, the mathematician) compares chisla (numbers) to kacheli (trapeze):
-- Вы не математик, Антон Сергеич, -- суетливо продолжал Алферов.-- А я на числах, как на качелях, всю жизнь прокачался. Бывало, говорил жене: раз я математик, ты мать-и-мачеха.
Горноцветов и Колин залились тонким смехом. Госпожа Дорн вздрогнула, испуганно посмотрела на обоих.
-- Одним словом: цифра и цветок,-- холодно сказал Ганин.
Только Клара улыбнулась. Ганин стал наливать себе воды, все смотрели на его движенье.
-- Да, вы правы, нежнейший цветок,-- протяжно сказал Алфёров, окинув соседа своим блестящим, рассеянным взглядом. -- Прямо чудо, как она пережила эти годы ужаса. Я вот уверен, что она приедет сюда цветущая, веселая... Вы -- поэт, Антон Сергеевич, опишите-ка такую штуку,-- как женственность, прекрасная русская женственность, сильнее всякой революции, переживает все,-- невзгоды, террор...
‘You’re not a mathematician, Anton Sergeyevich,’ Alfyorov went on fussily, ‘but I’ve been swinging on that trapeze all my life. I once used to say to my wife that if I’m a “summer” you’re surely a spring cinquefoil —’
Gornotsvetov and Kolin dissolved in mannered mirth. Frau Dorn gave a start and looked at them both in fright.
‘In short, a flower and a figure,’ said Ganin drily. Only Klara smiled. Ganin started pouring himself some water, his action watched by all the others.
‘Yes, you’re right, a most fragile flower,’ drawled Alfyorov, turning his bright, vacant look onto his neighbor. ‘It’s an absolute miracle how she survived those seven years of horror. And I’m sure that when she arrives she’ll be gay and blooming. You’re a poet, Anton Sergeyevich; you ought to write something about it — about how womanhood, lovely Russian womanhood, is stronger than any revolution and can survive it all — adversity, terror —’ (Chapter II)
Aleksey Ivanovich Alfyorov (whom we also meet, in the company of his charming wife, in VN's novel The Luzhin Defense, 1930) brings to mind King Alfin the Vague (the father of Charles the Beloved) and Alphina (the youngest of Judge Goldsworth's four daughters). According to Shade, Professor Kinbote is the author of a remarkable book on surnames. The surname Podtyagin (of the old poet in Mary) comes from the nickname Podtyaga and makes one think of podtyazhki (Russ., braces). Describing one of his conversations with Shade, Kinbote (Shade’s mad commentator who imagines that he is Charles the Beloved, the last self-exiled king of Zembla) mentions braces:
We were talking one day about Prejudice. Earlier, at lunch in the Faculty Club, Prof. H's guest, a decrepit emeritus from Boston - whom his host described with deep respect as "a true Patrician, a real blue-blooded Brahmin" (the Brahmin's grandsire sold braces in Belfast) - had happened to say quite naturally and debonairly, in allusion to the origins of a not very engaging new man in the College Library, "one of the Chosen People, I understand" (enunciated with a small snort of comfortable relish); upon which Assistant Professor Misha Gordon, a red-haired musician, had roundly remarked that "of course, God might choose His people but man should choose his expressions."
As we strolled back, my friend and I, to our adjacent castles, under the sort of light April rain that in one of his lyrical poems he calls:
A rapid pencil sketch of Spring
Shade said that more than anything on earth he loathed Vulgarity and Brutality, and that one found these two ideally united in racial prejudice. He said that, as a man of letters, he could not help preferring "is a Jew" to "is Jewish" and "is a Negro" to "is colored"; but immediately added that this way of alluding to two kinds of bias in one breath was a good example of careless, or demagogic, lumping (much exploited by Left-Wingers) since it erased the distinction between two historical hells: diabolical persecution and the barbarous traditions of slavery. On the other hand (he admitted) the tears of all ill-treated human beings, throughout the hopelessness of all time, mathematically equaled each other; and perhaps (he thought) one did not err too much in tracing a family likeness (tensing of simian nostrils, sickening dulling of eyes) between the jasmine-belt lyncher and the mystical anti-Semite when under the influence of their pet obsessions. I said that a young Negro gardener (see note to line 998) whom I had recently hired - soon after the dismissal of an unforgettable roomer (see Foreword) - invariably used the word "colored." As a dealer in old and new words (observed Shade) he strongly objected to that epithet not only because it was artistically misleading, but also because its sense depended too much upon application and applier. Many competent Negroes (he agreed) considered it to be the only dignified word, emotionally neutral and ethically inoffensive; their endorsement obliged decent non-Negroes to follow their lead, and poets do not like to be led; but the genteel adore endorsements and now use "colored man" for "Negro" as they do "nude" for "naked" or "perspiration" for "sweat"; although of course (he conceded) there might be times when the poet welcomed the dimple of a marble haunch in "nude" or an appropriate beadiness in "perspiration." One also heard it used (he continued) by the prejudiced as a jocular euphemism in a darky anecdote when something funny is said or done by the "colored gentleman" (a sudden brother here of "the Hebrew gentleman" in Victorian novelettes).
I had not quite understood his artistic objection to "colored." He explained it thus: Figures in the first scientific works on flowers, birds, butterflies and so forth were hand-painted by diligent aquarellists. In defective or premature publications the figures on some plates remained blank. The juxtaposition of the phrases "a white" and "a colored man" always reminded my poet, so imperiously as to dispel their accepted sense, of those outlines one longed to fill with their lawful colors - the green and purple of an exotic plant, the solid blue of a plumage, the geranium bar of a scalloped wing. "And moreover [he said] we, whites, are not white at all, we are mauve at birth, then tea-rose, and later all kinds of repulsive colors." (note to Line 470)
According to Kinbote, the Brahmin's grandsire sold braces in Belfast. Belfast (1925) is an essay by Vladislav Hodasevich (a Russian poet and memoirist, 1886-1939). In his essay O Sirine ("On Sirin," 1937) Hodasevich mentions patritsianskaya toga aristokrata (the patrician toga of an aristocrate) that Pushkin loved to wear in order to hide his genius beneath it:
Критик всегда немного похож на ярмарочного зазывалу, который кричит перед своим балаганом: "Заходите, смотрите чудо XX века, человека с двумя желудками" — или: "Ирму Бигуди, чудо-ребенка, от роду восьми лет, весом в шестнадцать пуд" — или еще что-нибудь в этом роде, какую-нибудь бородатую женщину. Но положение зазывалы проще и выигрышней, потому что за ситцевой занавескою балагана являются почтеннейшей публике уроды самоочевидные, не нуждающиеся в пояснениях. Дело же критика — показать, почему его "чудо XX века" не хуже других стоит алтына или десяти су, затраченных любознательным читателем. "Poetae nascuntur" — поэтами люди рождаются. Всякий истинный художник, писатель, поэт в широком смысле слова, конечно, есть выродок, существо, самою природою выделенное из среды нормальных людей. Чем разительнее несходство его с окружающими, тем оно тягостней, и нередко бывает, что в повседневной жизни свое уродство, свой гений поэт старается скрыть. Так, Пушкин его прикрывал маскою игрока, плащом дуэлянта, патрицианскою тогой аристократа, мещанским сюртуком литературного дельца. Обратно: бездарность всегда старается выставить наружу свою мнимую необыкновенность, как симулянт-попрошайка выставляет наружу поддельные свои язвы.
An aristocrate's patrician toga brings to mind toga candida, a white woolen toga worn in ancient Rome by senators and candidates (the Latin word candidatus comes from toga candida). Oratio in Toga Candida is a speech given by Cicero (Marcus Tullius Cicero, a Roman statesman, lawyer, scholar, philosopher, writer and Academic skeptic, 103 BC - 43 BC) during his election campaign in 64 BC for the consulship of 63 BC. Describing his rented house, Kinbote mentions his landlord’s four daughters (Alphina, Betty, Candida and Dee):
Lines 47-48: the frame house between Goldsworth and Wordsmith
The first name refers to the house in Dulwich Road that I rented from Hugh Warren Goldsworth, authority on Roman Law and distinguished judge. I never had the pleasure of meeting my landlord but I came to know his handwriting almost as well as I do Shade's. The second name denotes, of course, Wordsmith University. In seeming to suggest a midway situation between the two places, our poet is less concerned with spatial exactitude than with a witty exchange of syllables invoking the two masters of the heroic couplet, between whom he embowers his own muse. Actually, the "frame house on its square of green" was five miles west of the Wordsmith campus but only fifty yards or so distant from my east windows.
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.
Btw., Podtyagin's name-and-patronymic, Anton Sergeyevich, makes one think of Chekhov and Pushkin. According to Kinbote, Shade listed Chekhov among Russian humorists:
Speaking of the Head of the bloated Russian Department, Prof. Pnin, a regular martinet in regard to his underlings (happily, Prof. Botkin, who taught in another department, was not subordinated to that grotesque "perfectionist"): "How odd that Russian intellectuals should lack all sense of humor when they have such marvelous humorists as Gogol, Dostoevski, Chekhov, Zoshchenko, and those joint authors of genius Ilf and Petrov." (note to Line 172)