In his Foreword and Commentary to Shade’s poem 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) mentions Exton, a town near New Wye (a small University town where Shade and Kinbote live):
I have one favorite photograph of him. In this color snapshot taken by a onetime friend of mine, on a brilliant spring day, Shade is seen leaning on a sturdy cane that had belonged to his aunt Maud (see line 86). I am wearing a white windbreaker acquired in a local sports shop and a pair of lilac slacks hailing from Cannes. My left hand is half raised - not to pat Shade on the shoulder as seems to be the intention, but to remove my sunglasses which, however, it never reached in that life, the life of the picture; and the library book under my right arm is a treatise on certain Zemblan calisthenics in which I proposed to interest that young roomer of mine who snapped the picture. A week later he was to betray my trust by taking sordid advantage of my absence on a trip to Washington whence I returned to find he had been entertaining a fiery-haired whore from Exton who had left her combings and reek in all three bathrooms. Naturally we separated at once, and through a chink in the window curtains I saw bad Bob standing rather pathetically, with his crewcut, and shabby valise, and the skis I had given him, all forlorn on the roadside, waiting for a fellow student to drive him away forever. I can forgive everything save treason. (Foreword)
The ultimate destiny of madmen's souls has been probed by many Zemblan theologians who generally hold the view that even the most demented mind still contains within its diseased mass a sane basic particle that survived death and suddenly expands, bursts out as it were, in peals of healthy and triumphant laughter when the world of timorous fools and trim blockheads has fallen away far behind. Personally, I have not known any lunatics; but have heard of several amusing cases in New Wye ("Even in Arcady am I," says Dementia, chained to her gray column). There was for instance a student who went berserk. There was an old tremendously trustworthy college porter who one day, in the Projection Room, showed a squeamish coed something of which she had no doubt seen better samples; but my favorite case is that of an Exton railway employee whose delusion was described to me by Mrs. H., of all people. There was a big Summer School party at the Hurleys', to which one of my second ping-pong table partners, a pal of the Hurley boys had taken me because I knew my poet was to recite there something and I was beside myself with apprehension believing it might be my Zembla (it proved to be an obscure poem by one of his obscure friends - my Shade was very kind to the unsuccessful). The reader will understand if I say that, at my altitude, I can never feel "lost" in a crowd, but it is also true that I did not know many people at the H.'s. As I circulated, with a smile on my face and a cocktail in my hand, through the crush, I espied at last the top of my poet's head and the bright brown chignon of Mrs. H. above the back of two adjacent chairs: At the moment I advanced behind them I heard him object to some remark she had just made: "That is the wrong word," he said. "One should not apply it to a person who deliberately peels off a drab and unhappy past and replaces it with a brilliant invention. That's merely turning a new leaf with the left hand."
I patted my friend on the head and bowed slightly to Eberthella H. The poet looked at me with glazed eyes. She said: "You must help us, Mr. Kinbote: I maintain that what's his name, old - the old man, you know, at the Exton railway station, who thought he was God and began redirecting the trains, was technically a loony, but John calls him a fellow poet."
"We all are, in a sense, poets, Madam," I replied, and offered a lighted match to my friend who had his pipe in his teeth and was beating himself with both hands on various parts of his torso.
I am not sure this trivial variant has been worth commenting; indeed, the whole passage about the activities of the IPH would be quite Hudibrastic had its pedestrian verse been one foot shorter. (note to Line 629)
Shade [smiling and massaging my knee]: "Kings do not die - they only disappear, eh, Charles?"
"Who said that?" asked sharply, as if coming out of a trance, the ignorant, and always suspicious, Head of the English Department.
"Take my own case," continued my dear friend ignoring Mr. H. "I have been said to resemble at least four people: Samuel Johnson; the lovingly reconstructed ancestor of man in the Exton Museum; and two local characters, one being the slapdash disheveled hag who ladles out the mash in the Levin Hall cafeteria."
"The third in the witch row," I precised quaintly, and everybody laughed.
"I would rather say," remarked Mr. Pardon - American History - "that she looks like Judge Goldsworth" ("One of us," interposed Shade inclining his head), "especially when he is real mad at the whole world after a good dinner."
"I hear," hastily began Netochka, "that the Goldsworths are having a wonderful time -" (note to Line 894)
The characters in Shakespeare’s history play Richard II include Exton, an ambitious nobleman who murders Richard at Pomfret Castle:
Exton
As full of valor as of royal blood.
Both have I spilled. O, would the deed were good!
For now the devil that told me I did well
Says that this deed is chronicled in hell.
This dead king to the living king I’ll bear.
Take hence the rest and give them burial here. (Act V, scene 5)
King Henry (who hinted to Exton that he should murder Richard) banishes the murderer from England:
King Henry
They love not poison that do poison need,
Nor do I thee. Though I did wish him dead,
I hate the murderer, love him murderèd.
The guilt of conscience take thou for thy labour,
But neither my good word nor princely favour:
With Cain go wander through shades of night,
And never show thy head by day nor light. (Act Five, scene 6)
Kinbote’s erstwhile roomer, bad Bob brings to mind E. A. Poe's story The Literary Life of Thingum Bob, Esq. (1850). At the beginning of Poe’s story the narrator mentions Shakespeare:
I am now growing in years, and – since I understand that Shakespeare and Mr. Emmons are deceased – it is not impossible that I may even die. It has occurred to me, therefore, that I may as well retire from the field of Letters and repose upon my laurels. But I am ambitious of signalizing my abdication of the literary sceptre by some important bequest to posterity; and, perhaps, I cannot do a better thing than just pen for it an account of my earlier career. My name, indeed, has been so long and so constantly before the public eye, that I am not only willing to admit the naturalness of the interest which it has everywhere excited, but ready to satisfy the extreme curiosity which it has inspired. In fact, it is no more than the duty of him who achieves greatness to leave behind him, in his ascent, such landmarks as may guide others to be great. I propose, therefore, in the present paper, (which I had some idea of calling “Memoranda to serve for the Literary History of America,”) to give a detail of those important, yet feeble and tottering first steps, by which, at length, I attained the high road to the pinnacle of human renown.
In Canto Four Shade calls his poem “this transparent thingum” and asks Shakespeare to help him find a title for it:
Dim Gulf was my first book (free verse); Night Rote
Came next; then Hebe's Cup, my final float
in that damp carnival, for now I term
Everything "Poems," and no longer squirm.
(But this transparent thingum does require
Some moondrop title. Help me, Will! Pale Fire.) (ll. 957-952)
In his poem To One in Paradise (1843) E. A. Poe mentions starry Hope and compares the Past to a dim gulf:
Ah, dream too bright to last!
Ah, starry Hope! that didst arise
But to be overcast!
A voice from out the Future cries,
“On! on!”—but o’er the Past
(Dim gulf!) my spirit hovering lies
Mute, motionless, aghast!
In Shakespeare’s history play Richard III (Act 5, scene 2) Richmond says:
True hope is swift, and flies with swallow’s wings.
Kings it makes gods, and meaner creatures kings.
Kinbote calls the poet’s wife “Sybil Swallow:”
John Shade and Sybil Swallow (see note to line 247) were married in 1919, exactly three decades before King Charles wed Disa, Duchess of Payn. Since the very beginning of his reign (1936-1958) representatives of the nation, salmon fishermen, non-union glaziers, military groups, worried relatives, and especially the Bishop of Yeslove, a sanguineous and saintly old man, had been doing their utmost to persuade him to give up his copious but sterile pleasures and take a wife. It was a matter not of morality but of succession. As in the case of some of his predecessors, rough alderkings who burned for boys, the clergy blandly ignored our young bachelor's pagan habits, but wanted him to do what an earlier and even more reluctant Charles had done: take a night off and lawfully engender an heir. (note to Line 275)
Duchess of Payn, of Great Payn and Mone, Queen Disa seems to blend Leonardo's Mona Lisa with Desdemona, Othello’s wife in Shakespeare's Othello. In Shakespeare's play Othello mentions a two-hundred-year-old Egyptian sybil who gave his mother a magic handkerchief:
'Tis true. There’s magic in the web of it.
A sibyl, that had numbered in the world
The sun to course two hundred compasses,
In her prophetic fury sewed the work.
The worms were hallowed that did breed the silk,
And it was dyed in mummy which the skillful
Conserved of maidens' hearts. (Act III, scene 4)
Sybil Shade and Queen Disa seem to be one and the same person whose “real” name is Sofia Botkin, born Lastochkin. In his poem Lastochka (“The Swallow,” 1792-94) written after the death of ‘Plenyra’ (Derzhavin’s first wife) Derzhavin compares his soul to a swallow. In a letter of April 11, 1831, to Pletnyov (to whom Eugene Onegin is dedicated) Pushkin calls Pletnyov ten’ vozlyublennaya (the beloved shade) and asks Pletnyov (who did not respond to Pushkin’s letters for a long time), if he is already dead, to bow to Derzhavin and to embrace Delvig (who died at the beginning of 1831):
Воля твоя, ты несносен: ни строчки от тебя не дождёшься. Умер ты, что ли? Если тебя уже нет на свете, то, тень возлюбленная, кланяйся от меня Державину и обними моего Дельвига.
In his Poslanie Delvigu (“The Epistle to Delvig,” 1827) Pushkin tells the story of a skull that he is sending to Delvig and mentions Hamlet-Baratynski (an allusion to Baratynski’s poem “The Skull”):
Прими ж сей череп, Дельвиг, он
Принадлежит тебе по праву.
Обделай ты его, барон,
В благопристойную оправу.
Изделье гроба преврати
В увеселительную чашу,
Вином кипящим освяти
Да запивай уху да кашу.
Певцу Корсара подражай
И скандинавов рай воинский
В пирах домашних воскрешай,
Или как Гамлет-Баратынский
Над ним задумчиво мечтай:
О жизни мертвый проповедник,
Вином ли полный, иль пустой,
Для мудреца, как собеседник,
Он стоит головы живой.
According to Pushkin, the skull had belonged to Delvig’s ancestor, a German Baron who lived in Riga. Shade's murderer, Jakob Gradus is the son of Martin Gradus, a Protestant minister in Riga. Skandinavov ray voinskiy (the Scandinavians’ martial paradise, i. e. the Valhalla) in Pushkin’s epistle to Delvig brings to mind Odin’s Hall mentioned by Kinbote in his Foreword to Shade’s poem:
Oh, there were many such incidents. In a skit performed by a group of drama students I was pictured as a pompous woman hater with a German accent, constantly quoting Housman and nibbling raw carrots; and a week before Shade's death, a certain ferocious lady at whose club I had refused to speak on the subject of "The Hally Vally" (as she put it, confusing Odin's Hall with the title of a Finnish epic), said to me in the middle of a grocery store, "You are a remarkably disagreeable person. I fail to see how John and Sybil can stand you," and, exasperated by my polite smile, she added: "What's more, you are insane." But let me not pursue the tabulation of nonsense. Whatever was thought, whatever was said, I had my full reward in John's friendship. This friendship was the more precious for its tenderness being intentionally concealed, especially when we were not alone, by that gruffness which stems from what can be termed the dignity of the heart. His whole being constituted a mask. John Shade's physical appearance was so little in keeping with the harmonies hiving in the man, that one felt inclined to dismiss it as a coarse disguise or passing fashion; for if the fashions of the Romantic Age subtilized a poet's manliness by baring his attractive neck, pruning his profile and reflecting a mountain lake in his oval gaze, present-day bards, owing perhaps to better opportunities of aging, look like gorillas or vultures. My sublime neighbor's face had something about it that might have appealed to the eye, had it been only leonine or only Iroquoian; but unfortunately, by combining the two it merely reminded one of a fleshy Hogarthian tippler of indeterminate sex. His misshapen body, that gray mop of abundant hair, the yellow nails of his pudgy fingers, the bags under his lusterless eyes, were only intelligible if regarded as the waste products eliminated from his intrinsic self by the same forces of perfection which purifed and chiseled his verse. He was his own cancellation.
New Wye reminds one of "all the water in Wye" mentioned by Fluellen in Shakespeare's history play Henry V:
All the water in Wye cannot wash your majesty's
Welsh plood out of your pody, I can tell you that:
God pless it and preserve it, as long as it pleases
his grace, and his majesty too! (Act 4, Scene 7)