In Canto Two of his poem John Shade (the poet in VN’s novel Pale Fire, 1962) describes his daughter’s tragic death and mentions the preview of Remorse:
"Was that the phone?" You listened at the door.
More headlights in the fog. There was no sense
In window-rubbing: only some white fence
And the reflector poles passed by unmasked.
"Are we quite sure she's acting right?" you asked.
"It's technically a blind date, of course.
Well, shall we try the preview of Remorse?"
And we allowed, in all tranquillity,
The famous film to spread its charmed marquee;
The famous face flowed in, fair and inane:
The parted lips, the swimming eyes, the grain
Of beauty on the cheek, odd gallicism,
And the soft form dissolving in the prism
Of corporate desire. "I think," she said,
"I'll get off here." "It's only Lochanhead."
"Yes, that's okay." Gripping the stang, she peered
At ghostly trees. Bus stopped. Bus disappeared. (ll. 443-460)
In his poem “Wanted” Humbert Humbert (the narrator and main character in VN's novel Lolita, 1955) says that he is dying of hate and remorse:
Dying, dying, Lolita Haze,
Of hate and remorse, I'm dying.
And again my hairy fist I raise,
And again I hear you crying. (2.25)
First Hate (1921) is a short story by Algernon Blackwood. Its (male) characters include Hazel:
‘ “Who’s that?” ’ I asked.
“A new member, named Hazel,” Jack told me. “A great shot.” He knew him slightly, he explained; he had once been a client of his—Jack was a barrister, you remember—and had defended him in some financial case or other. Rather an unpleasant case, he added. Jack did not ‘care about’ the fellow, he told me, as he went on with his tender wing of grouse.’
Ericssen paused to relight his pipe a moment.
‘Not care about him!’ he continued. ‘It didn’t surprise me, for my own feeling, the instant I set eyes on the fellow, was one of violent, instinctive dislike that amounted to loathing. Loathing! No. I’ll give it the right word—hatred. I simply couldn’t help myself; I hated the man from the very first go off. A wave of repulsion swept over me as I followed him down the room a moment with my eyes, till he took his seat at a distant table and was out of sight. Ugh! He was a big, fat-faced man, with an eyeglass glued into one of his pale-blue cod-like eyes—out of condition, ugly as a toad, with a smug expression of intense self-satisfaction on his jowl that made me long to—
‘I leave it to you to guess what I would have liked to do to him. But the instinctive loathing he inspired in me had another aspect, too. Jack had not introduced us during the momentary pause beside our table, but as I looked up I caught the fellow’s eye on mine—he was glaring at me instead of at Jack, to whom he was talking—with an expression of malignant dislike, as keen evidently as my own. That’s the other aspect I meant. He hated me as violently as I hated him.
We were instinctive enemies, just as the rat and ferret are instinctive enemies. Each recognised a mortal foe. It was a case—I swear it—of whoever got first chance.’
Algernon Blackwood's First Hate brings to mind VN's story First Love included in his autobiography Speak, Memory (1951). According to Kinbote (Shade's mad commentator who imagines that he is Charles the Beloved, the last self-exiled king of Zembla), his records in so-called word golf include hate-love in three:
Line 819: Playing a game of worlds
My illustrious friend showed a childish predilection for all sorts of word games and especially for so-called word golf. He would interrupt the flow of a prismatic conversation to indulge in this particular pastime, and naturally it would have been boorish of me to refuse playing with him. Some of my records are: hate-love in three, lass-male in four, and live-dead in five (with "lend" in the middle).
word golf = world + gof (smith in Welsh). At the end of Canto Three of his poem Shade writes:
Life Everlasting - based on a misprint!
I mused as I drove homeward: take the hint,
And stop investigating my abyss?
But all at once it dawned on me that this
Was the real point, the contrapuntal theme;
Just this: not text, but texture; not the dream
But a topsy-turvical coincidence,
Not flimsy nonsense, but a web of sense.
Yes! It sufficed that I in life could find
Some kind of link-and-bobolink, some kind
Of correlated pattern in the game,
Plexed artistry, and something of the same
Pleasure in it as they who played it found.
It did not matter who they were. No sound,
No furtive light came from their involute
Abode, but there they were, aloof and mute,
Playing a game of worlds, promoting pawns
To ivory unicorns and ebon fauns;
Kindling a long life here, extinguishing
A short one there; killing a Balkan king;
Causing a chunk of ice formed on a high
Flying airplane to plummet from the sky
And strike a farmer dead; hiding my keys,
Glasses or pipe. Coordinating these
Events and objects with remote events
And vanished objects. Making ornaments
Of accidents and possibilities.
Stormcoated, I strode in: Sybil, it is
My firm conviction - "Darling, shut the door.
Had a nice trip?" Splendid - but what is more
I have returned convinced that I can grope
My way to some - to some - "Yes, dear?" Faint hope. (ll. 803-834)
The "real" name of Hazel Shade (the poet's daughter) seems to be Nadezhda Botkin. Nadezhda means in Russian 'hope.'