Dolores Haze (in VN's novel Lolita, 1955, the heroine's real name) was born in Pisky (a town in the Middle West) on January 1, 1935. In that year twenty-five-year-old Humbert Humbert (the narrator and main character in Lolita) married his first wife Valechka (Valeria Zborovski, the daughter of a Polish doctor) in Paris:
Although I told myself I was looking merely for a soothing presence, a glorified pot-au-feu, an animated merkin, what really attracted me to Valeria was the imitation she gave of a little girl. She gave it not because she had divined something about me; it was just her style - and I fell for it. Actually, she was at least in her late twenties (I never established her exact age for even her passport lied) and had mislaid her virginity under circumstances that changed with her reminiscent moods. I, on my part, was as naive as only a pervert can be. She looked fluffy and frolicsome, dressed à la gamine, showed a generous amount of smooth leg, knew how to stress the white of a bare instep by the black of a velvet slipper, and pouted, and dimpled, and romped, and dirndled, and shook her short curly blond hair in the cutest and tritest fashion imaginable.
After a brief ceremony at the mairie, I took her to the new apartment I had rented and, somewhat to her surprise, had her wear, before I touched her, a girl’s plain nightshirt that I had managed to filch from the linen closet of an orphanage. I derived some fun from that nuptial night and had the idiot in hysterics by sunrise. But reality soon asserted itself. The bleached curl revealed its melanic root; the down turned to prickles on a shaved shin; the mobile moist mouth, no matter how I stuffed it with love, disclosed ignominiously its resemblance to the corresponding part in a treasured portrait of her toadlike dead mama; and presently, instead of a pale little gutter girl, Humbert Humbert had on his hands a large, puffy, short-legged, big-breasted and practically brainless baba .
This state of affairs lasted from 1935 to 1939. Her only asset was a muted nature which did help to produce an odd sense of comfort in our small squalid flat: two rooms, a hazy view in one window, a brick wall in the other, a tiny kitchen, a shoe-shaped bath tub, within which I felt like Marat but with no white-necked maiden to stab me. We had quite a few cozy evenings together, she deep in her Paris-Soir, I working at a rickety table. We went to movies, bicycle races and boxing matches. I appealed to her stale flesh very seldom, only in cases of great urgency and despair. The grocer opposite had a little daughter whose shadow drove me mad; but with Valeria’s help I did find after all some legal outlets to my fantastic predicament. As to cooking, we tacitly dismissed the pot-au-feu and had most of our meals at a crowded place in rue Bonaparte where there were wine stains on the table cloth and a good deal of foreign babble. And next door, an art dealer displayed in his cluttered window a splendid, flamboyant, green, red, golden and inky blue, ancient American estampe - a locomotive with a gigantic smokestack, great baroque lamps and a tremendous cowcatcher, hauling its mauve coaches through the stormy prairie night and mixing a lot of spark-studded black smoke with the furry thunder clouds.
These burst. In the summer of 1939 mon oncle d’Amérique died bequeathing me an annual income of a few thousand dollars on condition I came to live in the States and showed some interest in his business. This prospect was most welcome to me. I felt my life needed a shake-up. There was another thing, too: moth holes had appeared in the plush of matrimonial comfort. During the last weeks I had kept noticing that my fat Valeria was not her usual self; had acquired a queer restlessness; even showed something like irritation at times, which was quite out of keeping with the stock character she was supposed to impersonate. When I informed her we were shortly to sail for New York, she looked distressed and bewildered. There were some tedious difficulties with her papers. She had a Nansen, or better say Nonsense, passport which for some reason a share in her husband’s solid Swiss citizenship could not easily transcend; and I decided it was the necessity of queuing in the préfecture, and other formalities, that had made her so listless, despite my patiently describing to her America, the country of rosy children and great trees, where life would be such an improvement on dull dingy Paris.
We were coming out of some office building one morning, with her papers almost in order, when Valeria, as she waddled by my side, began to shake her poodle head vigorously without saying a word. I let her go on for a while and then asked if she thought she had something inside. She answered (I translate from her French which was, I imagine, a translation in its turn of some Slavic platitude): “There is another man in my life.” (1.8)
Colonel Maximovich (Valeria's lover, a White Russian for whom she left Humbert and with whom she later moved to America; a man from Pasadena told Humbert that Mrs. Maximovich née Zborovski had died in childbirth around 1945) brings to mind Maksim Maksimovich, the title character of the first story in Lermontov's novel Geroy nashego vremeni ("A Hero of Our Time," 1840). On July 15 (OS), 1841, Mikhail Lermontov (a Russian poet, 1814-41) died in a pistol duel (in Pyatigorsk, a Caucasian spa) with Nikolay Martynov (a touchy personal pal and fellow officer whom the poet used to tease with his innocent jokes). After a fatal shot, a terrible thunderstorm broke out, the body of Lermontov was left at the site of the duel, where it lay in the pouring rain for several hours. Only closer to midnight they returned for him: the servants loaded him into a cart and brought him home.
Humbert's photogenic mother died in a freak accident (picnic, lightning) when Humbert was three (in 1913). The Lady Who Loved the Lightning is a play by Clare Quilty (the playwright and pornographer whom Humbert murders for abducting Lolita from him):
Quilty, Clare, American dramatist. Born in Ocean City, N. J., 1911. Educated at Columbia University. Started on a commercial career but turned to playwriting. Author of The Little Nymph, The Lady Who Loved Lightning (in collaboration with Vivian Darkbloom), Dark Age, The Strange Mushroom, Fatherly Love, and others. His many plays for children are notable. Little Nymph (1940) traveled 14,000 miles and played 280 performances on the road during the winter before ending in New York. Hobbies: fast cars, photography, pets. (1.8)
In September 1952, when Humbert finally manages to track down Quilty in Parkington and comes to Pavor Manor (as Humbert calls Quilty's old roomy house) to murder him, Quilty offers Humbert an old-fashioned rencontre, sword or pistol, in Rio or elsewhere:
“Now look here, Mac,” he said. “You are drunk and I am a sick man. Let us postpone the matter. I need quiet. I have to nurse my impotence. Friends are coming in the afternoon to take me to a game. This pistol-packing farce is becoming a frightful nuisance. We are men of the world, in everything - sex, free verse, marksmanship. If you bear me a grudge, I am ready to make unusual amends. Even an old-fashioned rencontre, sword or pistol, in Rio or elsewhere - is not excluded. My memory and my eloquence are not at their best today, but really, my dear Mr. Humbert, you were not an ideal stepfather, and I did not force your little protégé to join me. It was she made me remove her to a happier home. This house is not as modern as that ranch we shared with dear friends. But it is roomy, cool in summer and winter, and in a word comfortable, so, since I intend retiring to England or Florence forever, I suggest you move in. It is yours, gratis. Under the condition you stop pointing at me that [he swore disgustingly] gun. By the way, I do not know if you care for the bizarre, but if you do, I can offer you, also gratis, as house pet, a rather exciting little freak, a young lady with three breasts, one a dandy, this is a rare and delightful marvel of nature. Now, soyons raisonnables. You will only wound me hideously and then rot in jail while I recuperate in a tropical setting. I promise you, Brewster, you will be happy here, with a magnificent cellar, and all the royalties from my next play - I have not much at the bank right now but I propose to borrow - you know, as the Bard said, with that cold in his head, to borrow and to borrow and to borrow. There are other advantages. We have here a most reliable and bribable charwoman, a Mrs. Vibrissa - curious name - who comes from the village twice a week, alas not today, she has daughters, granddaughters, a thing or two I know about the chief of police makes him my slave. I am a playwright. I have been called the American Maeterlinck. Maeterlinck-Schmetterling, says I. Come on! All this is very humiliating, and I am not sure I am doing the right thing. Never use herculanita with rum. Now drop that pistol like a good fellow. I knew your dear wife slightly. You may use my wardrobe. Oh, another thing - you are going to like this. I have an absolutely unique collection of erotica upstairs. Just to mention one item: the in folio de-luxe Bagration Island - by the explorer and psychoanalyst Melanie Weiss, a remarkable lady, a remarkable work - drop that gun - with photographs of eight hundred and something male organs she examined and measured in 1932 on Bagration, in the Barda Sea, very illuminating graphs, plotted with love under pleasant skies - drop that gun - and moreover I can arrange for you to attend executions, not everybody knows that the chair is painted yellow” (2.35)
The in folio de-luxe Bagration Island seems to hint at Pyotr Bagration, a Russian General (of Georgian descent) who was felled in the battle of Borodino (August 26, 1812, OS), on the outskirts of Moscow. Borodinskaya godovshchina ("The Borodino Anniversary," 1831) is a poem by Pushkin (a Russian poet, 1799-1837); Borodino (1837) is a celebrated poem by Lermontov, the author of Smert' poeta ("Death of the Poet," 1837), a poem on Pushkin's death (Pushkin died on January 29, 1837, two days after his fatal duel with d'Anthès). In Pushkin's last flat (on the Moyka Canal in St. Petersburg), to which the poet's family (the young wife with her two elder sisters and four little children) moved on September 12, 1836, there were eleven rooms. Pushkin died at the age of thirty-seven. In May 1947, when he comes to Ramsdale, meets Lolita and falls in love with her, Humbert is thirty-seven. On January 10, 1837, d'Anthès married Ekaterina Goncharov (the poet's sister-in-law, 1809-43). On September 22, 1843, d'Anthès' wife gave birth to a long-awaited son, Louis Joseph de Heeckeren d'Anthes (1843-1902), dying of puerperal fever on October 15, 1843. Humbert receives a letter from Lolita (now married to Dick Schiller) dated September 18, 1952, on September 22, 1952:
I remember letting myself into my flat and starting to say: Well, at least we shall now track them down - when the other letter began talking to me in a small matter-of-fact voice:
Dear Dad:
How’s everything? I’m married. I’m going to have a baby. I guess he’s going to be a big one. I guess he’ll come right for Christmas. This is a hard letter to write. I’m going nuts because we don’t have enough to pay our debts and get out of here. Dick is promised a big job in Alaska in his very specialized corner of the mechanical field, that’s all I know about it but it’s really grand. Pardon me for withholding our home address but you may still be mad at me, and Dick must not know. This town is something. You can’t see the morons for the smog. Please do send us a check, Dad. We could manage with three or four hundred or even less, anything is welcome, you might sell my old things, because once we go there the dough will just start rolling in. Write, please. I have gone through much sadness and hardship.
Yours expecting,
Dolly (Mrs. Richard F. Schiller) (2.27)
Like the author of Lolita (who was born in 1899, a hundred years after Pushkin's birth, in St. Petersburg, the former Russian capital), Humbert (who spent the winter of 1939-40 in Portugal) moved from Europe to America in 1940:
Divorce proceedings delayed my voyage, and the gloom of yet another World War had settled upon the globe when, after a winter of ennui and pneumonia in Portugal, I at last reached the States. In New York I eagerly accepted the soft job fate offered me: it consisted mainly of thinking up and editing perfume ads. I welcomed its desultory character and pseudoliterary aspects, attending to it whenever I had nothing better to do. On the other hand, I was urged by a war-time university in New York to complete my comparative history of French literature for English-speaking students. The first volume took me a couple of years during which I put in seldom less than fifteen hours of work daily. As I look back on those days, I see them divided tidily into ample light and narrow shade: the light pertaining to the solace of research in palatial libraries, the shade to my excruciating desires and insomnias of which enough has been said. Knowing me by now, the reader can easily imagine how dusty and hot I got, trying to catch a glimpse of nymphets (alas, always remote) playing in Central Park, and how repulsed I was by the glitter of deodorized career girls that a gay dog in one of the offices kept unloading upon me. Let us skip all that. A dreadful breakdown sent me to a sanatorium for more than a year; I went back to my work - only to be hospitalized again. (1.9)
Humbert Humbert was born in 1910, in Paris (eleven years after VN's birth). In 1929 (eleven years before VN and Humbert moved to America) Richard Aldington (an English writer and Imagist poet, 1892-1962) published his novel Death of a Hero. It ends with the following poem:
Eleven years after the fall of Troy,
We, the old men—some of us nearly forty—
Met and talked on the sunny rampart
Over our wine, while the lizards scuttled
In dusty grass, and the crickets chirred.
Some bared their wounds;
Some spoke of the thirst, dry in the throat,
And the heart-beat, in the din of battle;
Some spoke of intolerable sufferings,
The brightness gone from their eyes
And the grey already thick in their hair.
And I sat a little apart
From the garrulous talk and old memories,
And I heard a boy of twenty
Say petulantly to a girl, seizing her arm:
“Oh, come away, why do you stand there
Listening open-mouthed to the talk of old men?
Haven't you heard enough of Troy and Achilles?
Why should they bore us for ever
With an old quarrel and the names of dead men
We never knew, and dull forgotten battles?”
And he drew her away,
And she looked back and laughed
As he spoke more contempt of us,
Being now out of hearing.
And I thought of the graves by desolate Troy
And the beauty of many young men now dust,
And the long agony, and how useless it all was.
And the talk still clashed about me
Like the meeting of blade and blade.
And as they two moved further away
He put an arm about her, and kissed her;
And afterwards I heard their gay distant laughter.
And I looked at the hollow cheeks
And the weary eyes and the grey-streaked heads
Of the old men—nearly forty—about me;
And I too walked away
In an agony of helpless grief and pity.
The hero of Aldington's novel, George Winterbourne (a young English artist) gets killed (commits suicide) on November 4, 1918 (a week before the end of World War I). On November 4, 1836, Pushkin and his friends received anonymous letters in which the poet was elected "coadjutor of the Grand Master of the Order of Cuckolds and historiographer of the Order." According to John Ray, Jr. (the author of the Foreword to Humbert's manuscript), Mrs. Richard F. Schiller (Lolita's married name) outlived Humbert (who died in legal captivity, of coronary thrombosis, on November 16, 1952, a few days before his trial was scheduled to start) by forty days and died in childbed, giving birth to a stillborn girl, on Christmas Day 1952 (less than a week before her eighteenth birthday), in Gray Star, a settlement in the remotest Northwest:
For the benefit of old-fashioned readers who wish to follow the destinies of the “real” people beyond the “true” story, a few details may be given as received from Mr. “Windmuller,” or “Ramsdale,” who desires his identity suppressed so that “the long shadow of this sorry and sordid business” should not reach the community to which he is proud to belong. His daughter, “Louise,” is by now a college sophomore, “Mona Dahl” is a student in Paris. “Rita” has recently married the proprietor of a hotel in Florida. Mrs. “Richard F. Schiller” died in childbed, giving birth to a stillborn girl, on Christmas Day 1952, in Gray Star, a settlement in the remotest Northwest. “Vivian Darkbloom” has written a biography, “My Cue,” to be publshed shortly, and critics who have perused the manuscript call it her best book. The caretakers of the various cemeteries involved report that no ghosts walk.
"The capital town of the book" (as VN calls it in the novel's Postscript), Gray Star brings to mind I zvezda s zvezdoyu govorit (And star with star converses), the last line of the first stanza of Lermontov's poem Vykhozhu odin ya na dorogu ("Alone I set out on the road," 1841):
Выхожу один я на дорогу;
Сквозь туман кремнистый путь блестит;
Ночь тиха. Пустыня внемлет богу,
И звезда с звездою говорит.
В небесах торжественно и чудно!
Спит земля в сиянье голубом...
Что же мне так больно и так трудно?
Жду ль чего? жалею ли о чём?
Уж не жду от жизни ничего я,
И не жаль мне прошлого ничуть;
Я ищу свободы и покоя!
Я б хотел забыться и заснуть!
Но не тем холодным сном могилы...
Я б желал навеки так заснуть,
Чтоб в груди дремали жизни силы,
Чтоб дыша вздымалась тихо грудь;
Чтоб всю ночь, весь день мой слух лелея,
Про любовь мне сладкий голос пел,
Надо мной чтоб вечно зеленея
Тёмный дуб склонялся и шумел.
Alone I set out on the road;
The flinty path is sparkling in the mist;
The night is still. The desert harks to God,
And star with star converses.
The vault is overwhelmed with solemn wonder
The earth in cobalt aura sleeps. . .
Why do I feel so pained and troubled?
What do I harbor: hope, regrets?
I see no hope in years to come,
Have no regrets for things gone by.
All that I seek is peace and freedom!
To lose myself and sleep!
But not the frozen slumber of the grave...
I'd like eternal sleep to leave
My life force dozing in my breast
Gently with my breath to rise and fall;
By night and day, my hearing would be soothed
By voices sweet, singing to me of love.
And over me, forever green,
A dark oak tree would bend and rustle.
The name of Lolita's home town, Pisky seems to hint at the zodiac constellation Pisces (the twelve zodiac constellations are Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricorn, Aquarius, and Pisces). Humbert dies in November (the eleventh month of the year). In odinnadtsat' (eleven in Russian) there is odin (one; alone), the second word in Lermontov's poem (composed in May-June 1841) Vykhozhu odin ya na dorogu. "The desert harks to God" (Pustynya vnemlet Bogu) in combination with odin brings to mind Gaston Godin (Humbert's friend and chess partner at Beardsley):
A word about Gaston Godin. The main reason why I enjoyed - or at least tolerated with relief - his company was the spell of absolute security that his ample person cast on my secret. Not that he knew it; I had no special reason to confide in him, and he was much too self-centered and abstract to notice or suspect anything that might lead to a frank question on his part and a frank answer on mine. He spoke well of me to Beardsleyans, he was my good herald. Had he discovered mes goûts and Lolita’s status, it would have interested him only insofar as throwing some light on the simplicity of my attitude towards him , which attitude was as free of polite strain as it was of ribald allusions; for despite his colorless mind and dim memory, he was perhaps aware that I knew more about him than the burghers of Beardsley did. He was a flabby, dough-faced, melancholy bachelor tapering upward to a pair of narrow, not quite level shoulders and a conical pear-head which had sleek black hair on one side and only a few plastered wisps on the other. But the lower part of his body was enormous, and he ambulated with a curious elephantine stealth by means of phenomentally stout legs. He always wore black, even his tie was black; he seldom bathed; his English was a burlesque. And, nonetheless, everybody considered him to be a supremely lovable, lovably freakish fellow! Neighbors pampered him; he knew by name all the small boys in our vicinity (he lived a few blocks away from me)and had some of them clean his sidewalk and burn leaves in his back yard, and bring wood from his shed, and even perform simple chores about the house, and he would feed them fancy chocolates, with real liqueurs inside - in the privacy of an orientally furnished den in his basement, with amusing daggers and pistols arrayed on the moldy, rug-adorned walls among the camouflaged hot-water pipes. Upstairs he had a studiohe painted a little, the old fraud. He had decorated its sloping wall (it was really not more than a garret) with large photographs of pensive André Gide, Tchaikovsky, Norman Douglas, two other well-known English writers, Nijinsky (all thighs and fig leaves), Harold D. Doublename (a misty-eyed left-wing professor at a Midwestern university) and Marcel Proust. All these poor people seemed about to fall on you from their inclined plane. He had also an album with snapshots of all the Jackies and Dickies of the neighborhood, and when I happened to thumb through it and make some casual remark, Gaston would purse his fat lips and murmur with a wistful pout “Oui, ils sont gentils. ” His brown eyes would roam around the various sentimental and artistic bric-a-brac present, and his own banal toiles (the conventionally primitive eyes, sliced guitars, blue nipples and geometrical designs of the day), and with a vague gesture toward a painted wooden bowl or veined vase, he would say “Prenez donc une de ces poires. La bonne dame d’en face m’en offre plus que je n’en peux savourer. ” Or: “Mississe Taille Lore vient de me donner ces dahlias, belles fleurs que j’exècre .” (Somber, sad, full of world-weariness.)
For obvious reasons, I preferred my house to his for the games of chess we had two or three times weekly. He looked like some old battered idol as he sat with his pudgy hands in his lap and stared at the board as if it were a corpse. Wheezing he would mediate for ten minutes - then make a losing move. Or the good man, after even more thought, might utter: Au roi! With a slow old-dog woof that had a gargling sound at the back of it which made his jowls wabble; and then he would lift his circumflex eyebrows with a deep sigh as I pointed out to him that he was in check himself.
Sometimes, from where we sat in my cold study I could hear Lo’s bare feet practicing dance techniques in the living room downstairs; but Gaston’s outgoing senses were comfortably dulled, and he remained unaware of those naked rhythms - and-one, and-two, and-one, and-two, weight transferred on a straight right leg, leg up and out to the side, and-one, and-two, and only when she started jumping, opening her legs at the height of the jump, and flexing one leg, and extending the other, and flying, and landing on her toes - only then did my pale, pompous, morose opponent rub his head or cheek as if confusing those distant thuds with the awful stabs of my formidable Queen.
Sometimes Lola would slouch in while we pondered the board - and it was every time a treat to see Gaston, his elephant eye still fixed on his pieces, ceremoniously rise to shake hands with her, and forthwith release her limp fingers, and without looking once at her, descend again into his chair to topple into the trap I had laid for him. One day around Christmas, after I had not seen him for a fortnight or so, he asked me “Et toutes vos fillettes, elles vont bien?” from which it became evident to me that he had multiplied my unique Lolita by the number of sartorial categories his downcast moody eye had glimpsed during a whole series of her appearances: blue jeans, a skirt, shorts, a quilted robe.
I am loath to dwell so long on the poor fellow (sadly enough, a year later, during a voyage to Europe, from which he did not return, he got involved in a sale histoire, in Naples of all places!). I would have hardly alluded to him at all had not his Beardsley existence had such a queer bearing on my case. I need him for my defense. There he was devoid of any talent whatsoever, a mediocre teacher, a worthless scholar, a glum repulsive fat old invert, highly contemptuous of the American way of life, triumphantly ignorant of the English language - there he was in priggish New England, crooned over by the old and caressed by the young - oh, having a grand time and fooling everybody; and here was I. (2.6)
Gast being German for guest, the name of Humbert's chess partner (in Paris Humbert played chess with Valeria's father) makes one think of Pushkin's little tragedy Kamennyi gost' ("The Stone Guest," 1830). It is believed that Pushkin added last touches to it on the morning before his fatal duel. Gost' (guest in Russian) brings to mind "no ghosts walk" in John Ray's Foreword.
A word about Lolita's birthday (January 1, 1935). In Lermontov's poem January the First (composed in January 1840) the word odin (alone) rhymes with gospodin (master):
Как часто, пестрою толпою окружен,
Когда передо мной, как будто бы сквозь сон,
При шуме музыки и пляски,
При диком шепоте затверженных речей,
Мелькают образы бездушные людей,
Приличьем стянутые маски,
Когда касаются холодных рук моих
С небрежной смелостью красавиц городских
Давно бестрепетные руки, —
Наружно погружась в их блеск и суету,
Ласкаю я в душе старинную мечту,
Погибших лет святые звуки.
И если как-нибудь на миг удастся мне
Забыться, — памятью к недавней старине
Лечу я вольной, вольной птицей;
И вижу я себя ребенком, и кругом
Родные всё места: высокий барский дом
И сад с разрушенной теплицей;
Зеленой сетью трав подернут спящий пруд,
А за прудом село дымится — и встают
Вдали туманы над полями.
В аллею темную вхожу я; сквозь кусты
Глядит вечерний луч, и желтые листы
Шумят под робкими шагами.
И странная тоска теснит уж грудь мою;
Я думаю об ней, я плачу и люблю,
Люблю мечты моей созданье
С глазами, полными лазурного огня,
С улыбкой розовой, как молодого дня
За рощей первое сиянье.
Так царства дивного всесильный господин —
Я долгие часы просиживал один,
И память их жива поныне
Под бурей тягостных сомнений и страстей,
Как свежий островок безвредно средь морей
Цветет на влажной их пустыне.
Когда ж, опомнившись, обман я узнаю
И шум толпы людской спугнет мечту мою,
На праздник не́званную гостью,
О, как мне хочется смутить веселость их
И дерзко бросить им в глаза железный стих,
Облитый горечью и злостью!..
When I often stay a motley crowd in,
When before my eyes, as in an awful dream,
To humming orchestras and dances,
And foolish whispering of speeches learnt by eart,
Flit figures of the people lost of heart,
And masques with a false politeness;
When my hands are touched, by any chance,
With heedless boldness of the city's lass,
By hands without virgin fear, —
Externally involved in their gleam and whim,
I cherish in my heart an old and dear dream,
The sacred sounds of the bygone years.
And if in some way I can lose, at last,
The dark reality, then to the resent past
I fly in mind — as birds fly to the South;
I see myself a child, I see once more them all:
The gentry's manor, so old and tall,
The garden with the broken hothouse.
Here sleeps a quiet pool under a net of grass,
Behind the pool, a village smokes, and they rise —
The mists — above the lawns so endless.
I enter a dark lane; the evening beams
Peer through the bushes; and the yellow leaves
Rustle at my footsteps sadness.
And sadness, very strange, lies my poor breast above:
I think about her, I weep and I do love,
I love my sacred dreams' creation
With eyes that full of ever-azure light,
With a rosy smile, as if, a grove behind,
The light of the young day's invasion.
Thus, proud liege of the bewitching land,
For the long hours, immovable, I sat —
And their memory exists till now
Beneath the mighty storm of passions and mistrusts,
Like some fresh island, safe midst ocean's floods,
In water desert has been flowered.
When, coming to my senses, I notice the fraud,
When the crowd's noise has completely destroyed
My dream — the wrong guest at their banquet —
Oh, how, then, I want to shock their foolish mirth
And boldly cast in their eyes my iron verse,
Steeped in bitterness and hatred!
(tr. Bonver)
In gospodin there is gospodi (for heaven's sake), an exclamation used by Rita (Humbert's girlfriend) in the Russian Lolita (1967):
Поразительный паразит пошёл за Ритой в бар. С той грустной улыбкой, которая появлялась у неё на лице от избытка алкоголя, она представила меня агрессивно-пьяному старику, говоря, что он — запамятовала вашу фамилию, дорогуша — учился с ней в одной школе. Он дерзко попробовал задержать её, и в последовавшей потасовке я больно ушиб большой палец об его весьма твёрдую голову. Затем мне пришлось некоторое время прогуливать и проветривать Риту в раскрашенном осенью парке Зачарованных Охотников. Она всхлипывала и повторяла, что скоро, скоро я брошу её, как все в жизни её бросали, и я спел ей вполголоса задумчивую французскую балладу и сочинил альбомный стишок ей в забаву:
Палитра клёнов в озере, как рана,
Отражена. Ведёт их на убой
В багряном одеянии Диана
Перед гостиницею голубой.
Она спросила: «Но почему голубой, когда она белая? Почему — Господи Боже мой…» — и зарыдала снова. Я решительно повёл её к автомобилю. Мы продолжали наш путь в Нью-Йорк, и там она опять зажила в меру счастливо, прохлаждаясь под дымчатой синевой посреди нашей маленькой террасы на тридцатом этаже. Замечаю, что каким-то образом у меня безнадёжно спутались два разных эпизода — моё посещение Брайсландской библиотеки на обратном пути в Нью-Йорк и прогулка в парке на переднем пути в Кантрип, но подобным смешением смазанных красок не должен брезговать художник-мнемозинист.
I went to find Rita who introduced me with her vin triste smile to a pocket-sized wizened truculently tight old man saying this was - what was the name again, son? - a former schoolmate of hers. He tried to retain her, and in the slight scuffle that followed I hurt my thumb against his hard head. In the silent painted park where I walked her and aired her a little, she sobbed and said I would soon, soon leave her as everybody had, and I sang her a wistful French ballad, and strung together some fugitive rhymes to amuse her:
The place was called Enchanted Hunters. Query:
What Indian dyes, Diana, did thy dell
endorse to make of Picture Lake a very
blood bath of trees before the blue hotel?
She said: “Why blue when it is white, why blue for heaven’s sake?” and started to cry again, and I marched her to the car, and we drove on to New York, and soon she was reasonably happy again high up in the haze on the little terrace of our flat. I notice I have somehow mixed up two events, my visit with Rita to Briceland on our way to Cantrip, and our passing through Briceland again on our way back to New York, but such suffusions of swimming colors are not to be disdained by the artist in recollection. (2.26)
"Gospodi!", skazal ya po oshibke ("My Goodness!" - I said by mistake) is a line in Osip Mandelshtam's poem Obraz tvoy, muchitel'nyi i zybkiy ("Your image, painful and unsteady," 1912):
Образ твой, мучительный и зыбкий,
Я не мог в тумане осязать.
«Господи!», сказал я по ошибке,
Сам того не думая сказать.
Божье имя, как большая птица,
Вылетело из моей груди...
Впереди густой туман клубится,
И пустая клетка позади...
Oh your image, haunting me yet blurred,
In the fog I could not touch or feel.
«Goodness me» by error slipped the word
Unawares, yet heeding its appeal.
Name of god, like a large bird, so intensely,
Took a flight right out of my chest.
Straight ahead the fog is steaming densely
And behind me, cage's emptiness.
(tr. I. Shambat)
Mandelshtam compares God's name that flew out of his chest to bol'shaya ptitsa (a big bird). In his recent note in The Nabokovian, "Lolita, Blue Birds and Ovid," Gerard de Vries argues that, after her death in Gray Star Lolita is turned into a bird (namely, into a bluebird).
The author of Noch' pered rozhdestvom ("Christmas Eve," 1832), Nikolay Gogol died on March 4, 1852. Gogol' is the Russian name of the bird goldeneye (Bucephala clangula). Humbert and Lolita die in the year of the centenary of Gogol's death. Rita's brother, the mayor and boaster of Grainball, Rita's brother seems to be a cross between Khlestakov (a boaster whom everybody mistakes for an inspector traveling incognito) and the Town Mayor, the characters in Gogol's Revizor ("The Inspector," 1836). At the end of Gogol's play the Town Mayor says that all he sees are svinye ryla (pigs' snouts) instead of faces, and nothing more. Rita is a short form of Margarita, a feminine given name that means “pearl.” Svinye ryla bring to mind "Quine the Swine" mentioned by Humbert:
Quine, Dolores. Born in 1882, in Dayton, Ohio. Studied for stage at American Academy. First played in Ottawa in 1900. Made New York debut in 1904 in Never Talk to Strangers. Has disappeared since in [a list of some thirty plays follows].
How the look of my dear love’s name even affixed to some old hag of an actress, still makes me rock with helpless pain! Perhaps, she might have been an actress too. Born 1935. Appeared (I notice the slip of my pen in the preceding paragraph, but please do not correct it, Clarence) in The Murdered Playwright. Quine the Swine. Guilty of killing Quilty. Oh, my Lolita, I have only words to play with! (1.8)
Humbert tells us Lolita's birthday when he describes Charlotte's attitude to her daughter:
Oh, she simply hated her daughter! What I thought especially vicious was that she had gone out of her way to answer with great diligence the questionnaires in a fool’s book she had (A guide to Your Child’s Development), published in Chicago. The rigmarole went year by year, and Mom was supposed to fill out a kind of inventory at each of her child’s birthdays. On Lo’s twelfth, January 1, 1947, Charlotte Haze, née Becker, had underlined the following epithets, ten out of forty, under “Your Child’s Personality”: aggressive, boisterous, critical, distrustful, impatient, irritable, inquisitive, listless, negativistic (underlined twice) and obstinate. She had ignored the thirty remaining adjectives, among which were cheerful, co-operative, energetic, and so forth. It was really maddening. With a brutality that otherwise never appeared in my loving wife’s mild nature, she attacked and routed such of Lo’s little belongings that had wandered to various parts of the house to freeze there like so many hypnotized bunnies. Little did the good lady dream that one morning when an upset stomach (the result of my trying to improve on her sauces) had prevented me from accompanying her to church, I deceived her with one of Lolita’s anklets. And then, her attitude toward my saporous darling’s letters!
“Dear Mummy and Hummy,
Hope you are fine. Thank you very much for the candy. I [crossed out and re-written again] I lost my new sweater in the woods. It has been cold here for the last few days. I’m having a time. Love,
Dolly.”
“The dumb child,” said Mrs. Humbert, “has left out a word before ‘time.’ That sweater was all-wool, and I wish you would not send her candy without consulting me.” (1.19)