The name of one of the three main characters in VN's novel Pale Fire (1962), Jakob Gradus (Shade's murderer), seems to hint at Gradus ad Parnassum, the title of a dictionary of prosody used in English public schools for centuries as a guide to Roman poetry. In Greek mythology, Mount Parnassus was the home of the Muses and sacred to Apollo (the Greek and Roman god of music, prophecy, healing, archery, and the sun/light). The pantheon of twelve Greek gods resided atop Mount Olympus. Shade's third collection of poetry was entitled Hebe's Cup (the goddess of youth or of the prime of life, Hebe was the cup-bearer for the gods of Mount Olympus). One of the eleven children of the poet Konstantin Fofanov (1862-1911), also Konstantin (1889-1940), published Futurist verses under the penname Konstantin Olimpov (from Olimp, the Russan name of Mount Olympus). At his father's funeral (Fofanov died on his forty-ninth birthday, 30 May 1911) Fofanov's son said: "Nash Fofan v zemlyu vkopan (Our Fofan is dug into the ground)," started to weep and fell down (an alcoholic, like his father, he was dead drunk). The Russian word for "earth, land," zemlya brings to mind Kinbote's Zembla (a distant northern land). According to Kinbote (Shade’s mad commentator who imagines that he is Charles the Beloved, the last self-exiled king of Zembla), Gradus contended that the real origin of his name should be sought in the Russian word for grape, vinograd, to which a Latin suffix had adhered, making it Vinogradus:
Line 17: And then the gradual; Line 29: gray
By an extraordinary coincidence (inherent perhaps in the contrapuntal nature of Shade's art) our poet seems to name here (gradual, gray) a man, whom he was to see for one fatal moment three weeks later, but of whose existence at the time (July 2) he could not have known. Jakob Gradus called himself variously Jack Degree or Jacques de Grey, or James de Gray, and also appears in police records as Ravus, Ravenstone, and d'Argus. Having a morbid affection for the ruddy Russia of the Soviet era, he contended that the real origin of his name should be sought in the Russian word for grape, vinograd, to which a Latin suffix had adhered, making it Vinogradus. His father, Martin Gradus, had been a Protestant minister in Riga, but except for him and a maternal uncle (Roman Tselovalnikov, police officer and part-time member of the Social-Revolutionary party), the whole clan seems to have been in the liquor business. Martin Gradus died in 1920, and his widow moved to Strasbourg where she soon died, too. Another Gradus, an Alsatian merchant, who oddly enough was totally unrelated to our killer but had been a close business friend of his kinsmen for years, adopted the boy and raised him with his own children. It would seem that at one time young Gradus studied pharmacology in Zurich, and at another, traveled to misty vineyards as an itinerant wine taster. We find him next engaging in petty subversive activities - printing peevish pamphlets, acting as messenger for obscure syndicalist groups, organizing strikes at glass factories, and that sort of thing. Sometime in the forties he came to Zembla as a brandy salesman. There he married a publican's daughter. His connection with the Extremist party dates from its first ugly writhings, and when the revolution broke out, his modest organizational gifts found some appreciation in various offices. His departure for Western Europe, with a sordid purpose in his heart and a loaded gun in his pocket, took place on the very day that an innocent poet in an innocent land was beginning Canto Two of Pale Fire. We shall accompany Gradus in constant thought, as he makes his way from distant dim Zembla to green Appalachia, through the entire length of the poem, following the road of its rhythm, riding past in a rhyme, skidding around the corner of a run-on, breathing with the caesura, swinging down to the foot of the page from line to line as from branch to branch, hiding between two words (see note to line 596), reappearing on the horizon of a new canto, steadily marching nearer in iambic motion, crossing streets, moving up with his valise on the escalator of the pentameter, stepping off, boarding a new train of thought, entering the hall of a hotel, putting out the bedlight, while Shade blots out a word, and falling asleep as the poet lays down his pen for the night.
Vinograd is the last word in Igor Severyanin's sonnet Fofanov (1926):
Большой талант дала ему судьба,
В нем совместив поэта и пророка.
Но властью виноградного порока
Царь превращен в безвольного раба.
Подслушала убогая изба
Немало тем, увянувших до срока.
Он обезвремен был по воле рока,
Его направившего в погреба.
Когда весною — в Божьи именины, —
Вдыхая запахи озерной тины,
Опустошенный, влекся в Приорат,
Он, суеверно в сумерки влюбленный,
Вином и вдохновеньем распаленный,
Вливал в стихи свой скорбный виноград…
Igor Lotaryov's penname, Severyanin means "Northerner." The first line of Severyanin's sonnet, Bol'shoy talant dala emu sud'ba (Fate gave to him a big talent), brings to mind the saying "to bury one's talent." In the biblical Parable of the Talents (Matthew 25:14-30), a servant buries the one "talent" (a large sum of money) given to him by his master out of fear and laziness rather than investing it. In the Russian canonical text of the Bible, the word that corresponds to English "servant" is rab (slave; a servant is sluga). According to Severyanin, vlast'yu vinogradnogo poroka (by the power of his vine vice), the King (Fofanov) was turned into a slave. In VN's novel Zashchita Luzhina ("The Luzhin Defense," 1930) little Luzhin buries in the park the chessmen that he found in the attic of his parents' country house.
Describing the Shadows (a regicidal organization), Kinbote mockingly calls Gradus (a member of the Shadows) "Vinogradus" and "Leningradus:"
The Zemblan Revolution provided Gradus with satisfactions but also produced frustrations. One highly irritating episode seems retrospectively most significant as belonging to an order of things that Gradus should have learned to expect but never did. An especially brilliant impersonator of the King, the tennis ace Julius Steinmann (son of the well-known philanthropist), had eluded for several months the police who had been driven to the limits of exasperation by his mimicking to perfection the voice of Charles the Beloved in a series of underground radio speeches deriding the government. When finally captured he was tried by a special commission, of which Gradus was member, and condemned to death. The firing squad bungled their job, and a little later the gallant young man was found recuperating from his wounds at a provincial hospital. When Gradus learned of this, he flew into one of his rare rages--not because the fact presupposed royalist machinations, but because the clean, honest, orderly course of death had been interfered with in an unclean, dishonest, disorderly manner. Without consulting anybody he rushed to the hospital, stormed in, located Julius in a crowded ward and managed to fire twice, both times missing, before the gun was wrested from him by a hefty male nurse. He rushed back to headquarters and returned with a dozen soldiers but his patient had disappeared.
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.
All this is as it should be; the world needs Gradus. But Gradus should not kill kings. Vinogradus should never, never provoke God. Leningradus should not aim his peashooter at people even in dreams, because if he does, a pair of colossally thick, abnormally hairy arms will hug him from behind and squeeze, squeeze, squeeze. (note to Line 171)
In 1914, after the beginning of World War I, St. Petersburg (VN's home city) was renamed Petrograd and, after Lenin's death on January 21, 1924, Leningrad. In October 1917, on the eve of the Bolshevik coup, Lenin lived for about a month in the Petrograd flat of Margarita Fofanov (a Revolutionary, member of the Bolshevist Party, 1883-1976, no relation of the poet) in the Serdobolskaya Street, 1 (the street's name comes from Serdobol', the old Russian name of Sortavala, a town in Karelia, located at the northern tip of Lake Ladoga, near the Finnish border).
According to Kinbote, the Zemblan Revolution broke out on May 1, 1958:
In 1933, Prince Charles was eighteen and Disa, Duchess of Payn, five. The allusion is to Nice (see also line 240) where the Shades spent the first part of that year; but here again, as in regard to so many fascinating facets of my friend's past life, I am not in the possession of particulars (who is to blame, dear S. S.?) and not in the position to say whether or not, in the course of possible excursions along the coast, they ever reached Cap Turc and glimpsed from an oleander-lined lane, usually open to tourists, the Italianate villa built by Queen Disa's grandfather in 1908; and called then Villa Paradiso, or in Zemblan Villa Paradisa, later to forego the first half of its name in honor of his favorite granddaughter. There she spent the first fifteen summers of her life; thither did she return in 1953, "for reasons of health" (as impressed on the nation) but really, a banished queen; and there she still dwells.
When the Zemblan Revolution broke out (May 1, 1958), she wrote the King a wild letter in governess English, urging him to come and stay with her until the situation cleared up. The letter was intercepted by the Onhava police, translated into crude Zemblan by a Hindu member of the Extremist party, and then read aloud to the royal captive in a would-be ironic voice by the preposterous commandant of the palace. There happened to be in that letter one - only one, thank God - sentimental sentence: "I want you to know that no matter how much you hurt me, you cannot hurt my love," and this sentence (if we re-English it from the Zemblan) came out as: "I desire you and love when you flog me." He interrupted the commandant, calling him a buffoon and a rogue, and insulting everybody around so dreadfully that the Extremists had to decide fast whether to shoot him at once or let him have the original of the letter.
Eventually he managed to inform her that he was confined to the palace. Valiant Disa hurriedly left the Riviera and made a romantic but fortunately ineffectual attempt to return to Zembla. Had she been permitted to land, she would have been forthwith incarcerated, which would have reacted on the King's flight, doubling the difficulties of escape. A message from the Karlists containing these simple considerations checked her progress in Stockholm, and she flew back to her perch in a mood of frustration and fury (mainly, I think, because the message had been conveyed to her by a cousin of hers, good old Curdy Buff, whom she loathed). Several weeks passed and she was soon in a state of even worse agitation owing to rumors that her husband might be condemned to death. She left Cap Turc again. She had traveled to Brussels and chartered a plane to fly north, when another message, this time from Odon, came, saying that the King and he were out of Zembla, and that she should quietly regain Villa Disa and await there further news. In the autumn of the same year she was informed by Lavender that a man representing her husband would be coming to discuss with her certain business matters concerning property she and her husband jointly owned abroad. She was in the act of writing on the terrace under the jacaranda a disconsolate letter to Lavender when the tall, sheared and bearded visitor with the bouquet of flowers-of-the-gods who had been watching her from afar advanced through the garlands of shade. She looked up - and of course no dark spectacles and no make-up could for a moment fool her. (note to Lines 433-434)
In Ilf and Petrov's novel Dvenadtsat' stuliev ("The Twelve Chairs," 1928) Kisa Vorobyaninov, as he talks to Liza Kalachov, quotes two lines (a refrain repeated three times in every second stanza) from Fofanov's poem May (1885):
Обменялись именами-отчествами.
«Сказка любви дорогой», — подумал Ипполит Матвеевич, вглядываясь в простенькое лицо Лизы. Так страстно, так неотвратимо захотелось старому предводителю женской ласки, отсутствие которой тяжело сказывается на жизненном укладе, что он немедленно взял Лизину лапку в свои морщинистые руки и горячо заговорил о Париже. Ему захотелось быть богатым, расточительным и неотразимым. Ему хотелось увлекать и под шум оркестров пить редереры с красоткой из дамского оркестра в отдельном кабинете. О чем было говорить с этой девочкой, которая, безусловно, ничего не знает ни о редерерах, ни о дамских оркестрах и которая по своей природе даже не может постичь всей прелести этого жанра. А быть увлекательным так хотелось! И Ипполит Матвеевич обольщал Лизу рассказами о Париже.
— Вы научный работник? — спросила Лиза.
— Да, некоторым образом, — ответил Ипполит Матвеевич, чувствуя, что со времени знакомства с Бендером он вновь приобрел не свойственное ему в последние годы нахальство.
— А сколько вам лет, простите за нескромность?
— К науке, которую я в настоящий момент представляю, это не имеет отношения.
Этим быстрым и метким ответом Лиза была покорена.
— Но все-таки? Тридцать? Сорок? Пятьдесят?
— Почти. Тридцать восемь.
— Ого! Вы выглядите значительно моложе.
Ипполит Матвеевич почувствовал себя счастливым.
— Когда вы доставите мне счастье увидеться с вами снова? — спросил Ипполит Матвеевич в нос.
Лизе стало очень стыдно. Она заерзала в кресле и затосковала.
— Куда это товарищ Бендер запропастился? — сказала она тоненьким голосом.
— Так когда же? — спросил Воробьянинов нетерпеливо. — Когда и где мы увидимся?
— Ну, я не знаю. Когда хотите.
— Сегодня можно?
— Сегодня?
— Умоляю вас.
— Ну, хорошо. Пусть сегодня. Заходите к нам.
— Нет, давайте встретимся на воздухе. Теперь такие погоды замечательные. Знаете стихи: «Это май-баловник, это май-чародей веет свежим своим опахалом».
— Это Жарова стихи?
— М-м… Кажется. Так сегодня? Где же?
— Какой вы странный! Где хотите. Хотите — у несгораемого шкафа? Знаете? Когда стемнеет…
They exchanged names and patronymics. "The Fairy Tale of Expensive Love," thought Ippolit Matveyevich, peering into Liza's simple face. So passionately and so irresistibly did the old marshal want a woman's affection that he immediately seized Liza's tiny hand in his own wrinkled hands and began talking enthusiastically of Paris. He wanted to be rich, extravagant and irresistible. He wanted to captivate a beauty from the all-women orchestra and drink champagne with her in a private dining-room to the sound of music. What was the use of talking to a girl who knew absolutely nothing about women's orchestras or wine, and who by nature would not appreciate the delights of that kind of life? But he so much wanted to be attractive! Ippolit Matveyevich enchanted Liza with his account of Paris. "Are you a scientist?" asked Liza.
"Yes, to a certain extent," replied Ippolit Matveyevich, feeling that since first meeting Bender he had regained some of the nerve that he had lost in recent years.
"And how old are you, if it's not an indiscreet question?"
"That has nothing to do with the science which I am at present representing."
Liza was squashed by the prompt and apt reply. "But, anyway-thirty, forty, fifty?"
"Almost. Thirty-seven."
"Oh! You look much younger."
Ippolit Matveyevich felt happy. "When will you give me the pleasure of seeing you again? " he asked through his nose.
Liza was very ashamed. She wriggled about on her seat and felt miserable. "Where has Comrade Bender got to?" she asked in a thin voice.
"So when, then?" asked Vorobyaninov impatiently. "When and where shall we meet?"
"Well, I don't know. Whenever you like."
"Is today all right?"
"Today?"
"Please!"
"Well, all right. Today, if you like. Come and see us."
"No, let's meet outside. The weather's so wonderful at present. Do you know the poem 'It's mischievous May, it's magical May, who is waving his fan of freshness'?"
"Is that Zharov?"
"Mmm . . . I think so. Today, then? And where?"
"How strange you are. Anywhere you like. By the fire-resistant cabinet if you want. Do you know it? As soon as it's dark." (Chapter 18 "The Furniture Museum")
Looking at Liza Kalachov, Vorobyaninov recalls Skazka lyubvi dorogoy ("A Tale of Precious Love," 1918), the second part of Pyotr Cherdynin's silent film starring Vera Kholodnaya. The movie's first part, Molchi, grust', molchi! ("Be Silent, my Sorrow, Be Silent!") is remembered by Ostap Bender (the main character in The Twelve Chairs and its sequel novel, The Little Golden Calf, 1932). Liza Kalachov and her husband Kolya are vegetarians by necessity (they are too poor to allow themselves meat). Describing his first meeting with Shade, Kinbote says that he is a confirmed vegetarian:
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, in a conversation with him Shade mentioned those joint authors of genius Ilf and Petrov:
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)
The poet Shade, his commentator Kinbote and his murderer Gradus seem to represent three different aspects of one and the same person whose "real" name is Botkin. According to Kinbote, he writes his commentary, index and foreword to Shade's poem in "Cedarn, Utana." But it seems that he actually writes them in a madhouse near Quebec - in the same "sanatorium" where Humbert Humbert (the narrator and main character in VN's novel Lolita, 1955) writes his poem "Wanted." In the last decade of his life Fofanov spent a lot of times in mental asylums.
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”). Dvoynik ("The Double") is a short novel (1846) by Dostoevski and a poem (1887) by Fofanov:
Ночь осенняя печальна,
Ночь осенняя темна;
Кто-то белый мне кивает
У открытого окна.
Узнаю я этот призрак,
Я давно его постиг:
Это - бедный мой товарищ,
Это - грустный мой двойник.
Он давно следит за мною,
Я давно слежу за ним,
От него мне веет смутно
И небесным и земным.
Он являлся мне весною
При мерцании зарниц;
Он на оргиях встречался
И встречался у гробниц.
Жаль ему меня покинуть,
Мне его оставить жаль:
Он делил со мной, бывало,
Одинокую печаль...
И теперь он грустно бродит,
И уйти боится прочь
От раскрытого окошка
В эту пасмурную ночь.
И листвою пожелтевшей
Осыпает мне окно
В эту ночь, когда на небе
И на сердце так темно!..