In VN's novel Lolita (1955) Lolita tells Humbert Humbert that she was a daisy-fresh girl before their first love-making:
“You chump,” she said, sweetly smiling at me. “You revolting creature. I was a daisy-fresh girl, and look what you’ve done to me. I ought to call the police and tell them you raped me. Oh, you dirty, dirty old man.”
Was she just joking? An ominous hysterical note rang through her silly words. Presently, making a sizzling sound with her lips, she started complaining of pains, said she could not sit, said I had torn something inside her. The sweat rolled down my neck, and we almost ran over some little animal or other that was crossing the road with tail erect, and again my vile-tempered companion called me an ugly name. When we stopped at the filling station, she scrambled out without a word and was a long time away. Slowly, lovingly, an elderly friend with a broken nose wiped my windshieldthey do it differently at every place, from chamois cloth to soapy brush, this fellow used a pink sponge.
She appeared at last. “Look,” she said in that neutral voice that hurt me so, “give me some dimes and nickels. I want to call mother in that hospital. What’s the number?”
“Get in,” I said. “You can’t call that number.”
“Why?”
“Get in and slam the door.”
She got in and slammed the door. The old garage man beamed at her. I swung onto the highway.
“Why can’t I call my mother if I want to?”
“Because,” I answered, “your mother is dead.” (1.32)
Daisy's Song is a poem by Keats:
I
The sun, with his great eye,
Sees not so much as I;
And the moon, all silver-proud,
Might as well be in a cloud.
II
And O the spring- the spring
I lead the life of a king!
Couch'd in the teeming grass,
I spy each pretty lass.
III
I look where no one dares,
And I stare where no one stares,
And when the night is nigh,
Lambs bleat my lullaby.
The sun and the moon in the poem's first stanza bring to mind the dandelions in the lawn of the Haze house that had changed from suns to moons:
The sun made its usual round of the house as the afternoon ripened into evening. I had a drink. And another. And yet another. Gin and pineapple juice, my favorite mixture, always double my energy. I decided to busy myself with our unkempt lawn. Une petite attention. It was crowded with dandelions, and a cursed dog - I loathe dogs - had defiled the flat stones where a sundial had once stood. Most of the dandelions had changed from suns to moons. The gin and Lolita were dancing in me, and I almost fell over the folding chairs that I attempted to dislodge. Incarnadine zebras! There are some eructations that sound like cheersat least, mine did. An old fence at the back of the garden separated us from the neighbor’s garbage receptacles and lilacs; but there was nothing between the front end of our lawn (where it sloped along one side of the house) and the street. Therefore I was able to watch (with the smirk of one about to perform a good action) for the return of Charlotte: that tooth should be extracted at once. As I lurched and lunged with the hand mower, bits of grass optically twittering in the low sun, I kept an eye on that section of suburban street. It curved in from under an archway of huge shade trees, then sped towards us down, down, quite sharply, past old Miss Opposite’s ivied brick house and high-sloping lawn (much trimmer than ours) and disappeared behind our own front porch which I could not see from where I happily belched and labored. The dandelions perished. A reek of sap mingled with the pineapple. Two little girls, Marion and Mabel, whose comings and goings I had mechanically followed of late (but who could replace my Lolita?) went toward the avenue (from which our Lawn Street cascaded), one pushing a bicycle, the other feeding from a paper bag, both talking at the top of their sunny voices. Leslie, old Miss Opposite’s gardener and chauffeur, a very amiable and athletic Negro, grinned at me from afar and shouted, re-shouted, commented by gesture, that I was mighty energetic today. The fool dog of the prosperous junk dealer next door ran after a blue carnot Charlotte’s. The prettier of the two little girls (Mabel, I think), shorts, halter with little to halt, bright hair - a nymphet, by Pan! - ran back down the street crumpling her paper bag and was hidden from this Green Goat by the frontage of Mr. And Mrs. Humbert’s residence. A station wagon popped out of the leafy shade of the avenue, dragging some of it on its roof before the shadows snapped, and swung by at an idiotic pace, the sweatshirted driver roof-holding with his left hand and the junkman’s dog tearing alongside. There was a smiling pauseand then, with a flutter in my breast, I witnessed the return of the Blue Sedan. I saw it glide downhill and disappear behind the corner of the house. I had a glimpse of her calm pale profile. It occurred to me that until she went upstairs she would not know whether I had gone or not. A minute later, with an expression of great anguish on her face, she looked down at me from the window of Lo’s room. By sprinting upstairs, I managed to reach that room before she left it. (1.17)
The name Ramsdale (of the town where Lolita lives with her mother) seems to hint at lambs that in Keats's poem bleat the daisy's lullaby. Humbert and Lolita spend their first night together in The Enchanted Hunters (a hotel in Briceland). In his sonnet Written on the Day That Mr. Leigh Hunt Left Prison (Feb. 2, 1815) Keats mentions enchanted flowers:
What though, for showing truth to flatter’d state,
Kind Hunt was shut in prison, yet has he,
In his immortal spirit, been as free
As the sky-searching lark, and as elate.
Minion of grandeur! think you he did wait?
Think you he nought but prison walls did see,
Till, so unwilling, thou unturn’dst the key?
Ah, no! far happier, nobler was his fate!
In Spenser’s halls he strayed, and bowers fair,
Culling enchanted flowers; and he flew
With daring Milton through the fields of air:
To regions of his own his genius true
Took happy flights. Who shall his fame impair
When thou art dead, and all thy wretched crew?
Humbert writes Lolita in prison. The key in Keats's sonnet brings to mind key "342" in Humbert's hot hairy fist:
Gentlewomen of the jury! Bear with me! Allow me to take just a tiny bit of your precious time. So this was le grand moment. I had left my Lolita still sitting on the edge of the abysmal bed, drowsily raising her foot, fumbling at the shoelaces and showing as she did so the nether side of her thigh up to the crotch of her pantiesshe had always been singularly absentminded, or shameless, or both, in matters of legshow. This, then, was the hermetic vision of her which I had locked inafter satisfying myself that the door carried no inside bolt. The key, with its numbered dangler of carved wood, became forthwith the weighty sesame to a rapturous and formidable future. It was mine, it was part of my hot hairy fist. In a few minutessay, twenty, say half-an-hour, sicher ist sicher as my uncle Gustave used to say - I would let myself into that “342” and find my nymphet, my beauty and bride, imprisoned in her crystal sleep. Jurors! If my happiness could have talked, it would have filled that genteel hotel with a deafening roar. And my only regret today is that I did not quietly deposit key “342” at the office, and leave the town, the country, the continent, the hemisphere, - indeed, the globe - that very same night. (1.28)
Lawn Street 342 is the address of the Haze house in Ramsdale. According to Humbert, it took him fifty-six days (eight weeks) to write Lolita:
When I started, fifty-six days ago, to write Lolita, first in the psychopathic ward for observation, and then in this well-heated, albeit tombal, seclusion, I thought I would use these notes in toto at my trial, to save not my head, of course, but my soul. In mind-composition, however, I realized that I could not parade living Lolita. I still may use parts of this memoir in hermetic sessions, but publication is to be deferred. (2.36)
During his life Keats published only fifty-four poems, in three slim volumes and a few magazines (Daisy's Song appeared in 1848 in Life, Letters, and Literary Remains of John Keats, in Extracts from an Opera). Humbert is the author of a paper entitled “The Proustian theme in a letter from Keats to Benjamin Bailey:”
A paper of mine entitled “The Proustian theme in a letter from Keats to Benjamin Bailey” was chuckled over by the six or seven scholars who read it. I launched upon an “Histoire abrégé de la poesie anglaise ” for a prominent publishing firm, and then started to compile that manual of French literature for English-speaking students (with comparisons drawn from English writers) which was to occupy me throughout the fortiesand the last volume of which was almost ready for press by the time of my arrest. (1.5)
Keats's letter to Benjamin Bailey is dated November 22, 1817. According to John Ray, Jr. (the author of the Foreword to Humbert's manuscript), Humbert Humbert died in legal captivity, of coronary thrombosis, on November 16, 1952, a few days before his trial was scheduled to start. Marcel Proust died on November 18, 1922. According to Humbert, between July 5 and November 18, 1949, he registered (if not actually stayed) at 342 hotels, motels and tourist homes.
Russian for "daisy," margaritka brings to mind Rita, a girl whom Humbert picks up after Lolita was abducted from him (on July 4, 1949):
She was twice Lolita’s age and three quarters of mine: a very slight, dark-haired, pale-skinned adult, weighing a hundred and five pounds, with charmingly asymmetrical eyes, and angular, rapidly sketched profile, and a most appealing ensellure to her supple back - I think she had some Spanish or Babylonian blood. I picked her up one depraved May evening somewhere between Montreal and New York, or more narrowly, between Toylestown and Blake, at a drakishly burning bar under the sign of the Tigermoth, where she was amiably drunk: she insisted we had gone to school together, and she placed her trembling little hand on my ape paw. My senses were very slightly stirred but I decided to give her a try; I did - and adopted her as a constant companion. She was so kind, was Rita, such a good sport, that I daresay she would have given herself to any pathetic creature or fallacy, an old broken tree or a bereaved porcupine, out of sheer chumminess and compassion. (2.26)
Humbert (who was born in 1910, in Paris) meets Rita in May, 1950. It means that Rita is thirty and was born in 1920. Keats died (on February 18, 1821) at the age of twenty-five. In his poem The Two Poets of Croisic (1878) Robert Browning mentions octogenarian Keats who gave up the ghost:
New long bright life! and happy chance befell—
That I know—when some prematurely lost
Child of disaster bore away the bell
From some too-pampered son of fortune, crossed
Never before my chimney broke the spell!
Octogenarian Keats gave up the ghost,
While—never mind Who was it cumbered earth—
Sank stifled, span-long brightness, in the birth. (IV)
Humbert hopes that Lolita (who dies on Christmas Day, 1952, in childbed) will live to the age of eighty or ninety:
In its published form, this book is being read, I assume, in the first years of 2000 A. D. (1935 plus eighty or ninety, live long, my love); and elderly readers will surely recall at this point the obligatory scene in the Westerns of their childhood. Our tussle, however, lacked the ox-stunning fisticuffs, the flying furniture. He and I were two large dummies, stuffed with dirty cotton and rags. It was a silent, soft, formless tussle on the part of two literati, one of whom was utterly disorganized by a drug while the other was handicapped by a heart condition and too much gin. When at last I had possessed myself of my precious weapon, and the scenario writer had been reinstalled in his low chair, both of us were panting as the cowman and the sheepman never do after their battle. (2.35)
A wolf in sheep's clothing, Humbert Humbert brings to mind Humbert Wolfe (1885-1940), an English poet who was born in Italy. Keats died in Rome. The author of Adonais, an elegy on Keats's death, P. B. Shelley drowned in the sea near the Italian coast. Byron (the poet whom Lady Caroline Lamb described as "mad, bad, and dangerous to know," which can also be said of Humbert) and Leigh Hunt were present at Shelley's funeral (at least, they are present in The Funeral of Shelley, a painting by Louis Édouard Fournier).