According to 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), the disguised king arrived in America descending by parachute:
John Shade's heart attack (Oct. 17, 1958) practically coincided with the disguised king's arrival in America where he descended by parachute from a chartered plane piloted by Colonel Montacute, in a field of hay-feverish, rank-flowering weeds, near Baltimore whose oriole is not an oriole. It had all been perfectly timed, and he was still wrestling with the unfamiliar French contraption when the Rolls-Royce from Sylvia O'Donnell's manor turned toward his green silks from a road and approached along the mowntrop, its fat wheels bouncing disapprovingly and its black shining body slowly gliding along. Fain would I elucidate this business of parachuting but (it being a matter of mere sentimental tradition rather than a useful manner of transportation) this is not strictly necessary in these notes to Pale Fire. While Kingsley, the British chauffeur, an old and absolutely faithful retainer, was doing his best to cram the bulky and ill-folded parachute into the boot, I relaxed on a shooting stick he had supplied me with, sipping a delightful Scotch and water from the car bar and glancing (amid an ovation of crickets and that vortex of yellow and maroon butterflies that so pleased Chateaubriand on his arrival in America) at an article in The New York Times in which Sylvia had vigorously and messily marked out in red pencil a communication from New Wye which told of the poet's hospitalization. I had been looking forward to meeting my favorite American poet who, as I felt sure at the moment, would die long before the Spring Term, but the disappointment was little more than a mental shrug of accepted regret, and discarding the newspaper, I looked around me with enchantment and physical wellbeing despite the congestion in my nose. Beyond the field the great green steps of turf ascended to the multicolored coppices; one could see above them the white brow of the manor; clouds melted into the blue. Suddenly I sneezed, and sneezed again. Kingsley offered me another drink but I declined it, and democratically joined him in the front seat. My hostess was in bed, suffering from the aftereffects of a special injection that she had been given in anticipation of a journey to a special place in Africa. In answer to my "Well, how are you?" she murmured that the Andes had been simply marvelous, and then in a slightly less indolent tone of voice inquired about a notorious actress with whom her son was said to be living in sin. Odon, I said, had promised me he would not marry her. She inquired if I had had a good hop and dingled a bronze bell. Good old Sylvia! She had in common with Fleur de Fyler a vagueness of manner, a languor of demeanor which was partly natural and partly cultivated as a convenient alibi for when she was drunk, and in some wonderful way she managed to combine that indolence with volubility reminding one of a slow-speaking ventriloquist who is interrupted by his garrulous doll. Changeless Sylvia! During three decades I had seen from time to time, from palace to palace, that same flat nut-colored bobbed hair, those childish pale-blue eyes, the vacant smile, the stylish long legs, the willowy hesitating movements. (note to Line 691)
The term "parachute" was coined in 1785 by Louis-Sébastien Lenormand (1757–1837), a French chemist, physicist, inventor, and monk who made the first public jump in 1783. In his book Orthodoxy (1908) G. K. Chesterton (an English writer, 1874-1936) says that in the old Christian pictures the sky over every figure is like a blue or gold parachute:
Aristocracy is not an institution: aristocracy is a sin; generally a very venial one. It is merely the drift or slide of men into a sort of natural pomposity and praise of the powerful, which is the most easy and obvious affair in the world.
It is one of the hundred answers to the fugitive perversion of modern "force" that the promptest and boldest agencies are also the most fragile or full of sensibility. The swiftest things are the softest things. A bird is active, because a bird is soft. A stone is helpless, because a stone is hard. The stone must by its own nature go downwards, because hardness is weakness. The bird can of its nature go upwards, because fragility is force. In perfect force there is a kind of frivolity, an airiness that can maintain itself in the air. Modern investigators of miraculous history have solemnly admitted that a characteristic of the great saints is their power of "levitation." They might go further; a characteristic of the great saints is their power of levity. Angels can fly because they can take themselves lightly. This has been always the instinct of Christendom, and especially the instinct of Christian art. Remember how Fra Angelico represented all his angels, not only as birds, but almost as butterflies. Remember how the most earnest mediaeval art was full of light and fluttering draperies, of quick and capering feet. It was the one thing that the modern Pre-raphaelites could not imitate in the real Pre-raphaelites. Burne-Jones could never recover the deep levity of the Middle Ages. In the old Christian pictures the sky over every figure is like a blue or gold parachute. Every figure seems ready to fly up and float about in the heavens. The tattered cloak of the beggar will bear him up like the rayed plumes of the angels. But the kings in their heavy gold and the proud in their robes of purple will all of their nature sink downwards, for pride cannot rise to levity or levitation. Pride is the downward drag of all things into an easy solemnity. One "settles down" into a sort of selfish seriousness; but one has to rise to a gay self-forgetfulness. A man "falls" into a brown study; he reaches up at a blue sky. Seriousness is not a virtue. It would be a heresy, but a much more sensible heresy, to say that seriousness is a vice. It is really a natural trend or lapse into taking one's self gravely, because it is the easiest thing to do. It is much easier to write a good TIMES leading article than a good joke in PUNCH. For solemnity flows out of men naturally; but laughter is a leap. It is easy to be heavy: hard to be light. Satan fell by the force of gravity. (Chapter VII. The Eternal Revolution)
In his collection of essays Tremendous Trifles (1909) G. K. Chesterton mentions the third (final) temptation of Christ whom Satan took to the top of an exceeding high mountain and showed him all the kingdoms of the earth:
I have my doubts about all this real value in mountaineering, in getting to the top of everything and overlooking everything. Satan was the most celebrated of Alpine guides, when he took Jesus to the top of an exceeding high mountain and showed him all the kingdoms of the earth. But the joy of Satan in standing on a peak is not a joy in largeness, but a joy in beholding smallness, in the fact that all men look like insects at his feet. It is from the valley that things look large; it is from the level that things look high; I am a child of the level and have no need of that celebrated Alpine guide. I will lift up my eyes to the hills, from whence cometh my help; but I will not lift up my carcass to the hills, unless it is absolutely necessary. Everything is in an attitude of mind; and at this moment I am in a comfortable attitude. I will sit still and let the marvels and the adventures settle on me like flies. There are plenty of them, I assure you. The world will never starve for want of wonders; but only for want of wonder. (Chapter I)
According to Kinbote, solitude is the playfield of Satan:
Often, almost nightly, throughout the spring of 1959, I had feared for my life. Solitude is the playfield of Satan. I cannot describe the depths of my loneliness and distress. There was naturally my famous neighbor just across the lane, and at one time I took in a dissipated young roomer (who generally came home long after midnight). Yet I wish to stress that cold hard core of loneliness which is not good for a displaced soul. Everybody knows how given to regicide Zemblans are: two Queens, three Kings, and fourteen pretenders died violent deaths, strangled, stabbed, poisoned, and drowned, in the course of only one century (1700-1800). The Goldsworth castle became particularly solitary after that turning point at dusk which resembles so much the nightfall of the mind. Stealthy rustles, the footsteps of yesteryear leaves, an idle breeze, a dog touring the garbage cans - everything sounded to me like a bloodthirsty prowler. I kept moving from window to window, my silk nightcap drenched with sweat, my bared breast a thawing pond, and sometimes, armed with the judge's shotgun, I dared beard the terrors of the terrace. I suppose it was then, on those masquerading spring nights with the sounds of new life in the trees cruelly mimicking the cracklings of old death in my brain, I suppose it was then, on those dreadful nights, that I got used to consulting the windows of my neighbor's house in the hope for a gleam of comfort (see notes to lines 47-48). What would I not have given for the poet's suffering another heart attack (see line 691 and note) leading to my being called over to their house, all windows ablaze, in the middle of the night, in a great warm burst of sympathy, coffee, telephone calls, Zemblan herbal receipts (they work wonders!), and a resurrected Shade weeping in my arms ("There, there, John"). But on those March nights their house was as black as a coffin. And when physical exhaustion and the sepulchral cold drove me at last upstairs to my solitary double bed, I would lie awake and breathless - as if only now living consciously through those perilous nights in my country, where at any moment, a company of jittery revolutionists might enter and hustle me off to a moonlit wall. The sound of a rapid car or a groaning truck would come as a strange mixture of friendly life's relief and death's fearful shadow: would that shadow pull up at my door? Were those phantom thugs coming for me? Would they shoot me at once - or would they smuggle the chloroformed scholar back to Zembla, Rodnaya Zembla, to face there a dazzling decanter and a row of judges exulting in their inquisitorial chairs?
At times I thought that only by self-destruction could I hope to cheat the relentlessly advancing assassins who were in me, in my eardrums, in my pulse, in my skull, rather than on that constant highway looping up over me and around my heart as I dozed off only to have my sleep shattered by that drunken, impossible, unforgettable Bob's return to Candida's or Dee's former bed. As briefly mentioned in the foreword, I finally threw him out; after which for several nights neither wine, nor music, nor prayer could allay my fears. On the other hand, those mellowing spring days were quite sufferable, my lectures pleased everybody, and I made a point of attending all the social functions available to me. But after the gay evening there came again the insidious approach, the oblique shuffle, that creeping up, and that pause, and the resumed crepitation. (note to Line 62)
According to Kinbote (the author of a remarkable book on surnames), the name Fleur de Fyler (of Queen Disa's favorite lady-in-waiting) means in Zemblan "defiler of flowers:"
No such qualms disturbed him as he sat now on the terrace of her villa and recounted his lucky escape from the Palace. She enjoyed his description of the underground link with the theater and tried to visualize the jolly scramble across the mountains; but the part concerning Garh displeased her as if, paradoxically, she would have preferred him to have gone through a bit of wholesome houghmagandy with the wench. She told him sharply to skip such interludes, and he made her a droll little bow. But when he began to discuss the political situation (two Soviet generals had just been attached to the Extremist government as Foreign Advisers), a familiar vacant expression appeared in her eyes. Now that he was safely out of the country, the entire blue bulk of Zembla, from Embla Point to Emblem Bay, could sink in the sea for all she cared. That he had lost weight was of more concern to her than that he had lost a kingdom. Perfunctorily she inquired about the crown jewels; he revealed to her their unusual hiding place, and she melted in girlish mirth as she had not done for years and years. "I do have some business matters to discuss," he said. "And there are papers you have to sign." Up in the trellis a telephone climbed with the roses. One of her former ladies in waiting, the languid and elegant Fleur de Fyler (now fortyish and faded), still wearing pearls in her raven hair and the traditional white mantilla, brought certain documents from Disa's boudoir. Upon hearing the King's mellow voice behind the laurels, Fleur recognized it before she could be misled by his excellent disguise. Two footmen, handsome young strangers of a marked Latin type, appeared with the tea and caught Fleur in mid-curtsey. A sudden breeze groped among the glycines. Defiler of flowers. He asked Fleur as she turned to go with the Disa orchids if she still played the viola. She shook her head several times not wishing to speak without addressing him and not daring to do so while the servants might be within earshot. (note to Lines 433-434)
In Orthodoxy G. K. Chesterton says that a man who commits suicide defiles every flower by refusing to live for its sake:
I put these things not in their mature logical sequence, but as they came: and this view was cleared and sharpened by an accident of the time. Under the lengthening shadow of Ibsen, an argument arose whether it was not a very nice thing to murder one's self. Grave moderns told us that we must not even say "poor fellow," of a man who had blown his brains out, since he was an enviable person, and had only blown them out because of their exceptional excellence. Mr. William Archer even suggested that in the golden age there would be penny-in-the-slot machines, by which a man could kill himself for a penny. In all this I found myself utterly hostile to many who called themselves liberal and humane. Not only is suicide a sin, it is the sin. It is the ultimate and absolute evil, the refusal to take an interest in existence; the refusal to take the oath of loyalty to life. The man who kills a man, kills a man. The man who kills himself, kills all men; as far as he is concerned he wipes out the world. His act is worse (symbolically considered) than any rape or dynamite outrage. For it destroys all buildings: it insults all women. The thief is satisfied with diamonds; but the suicide is not: that is his crime. He cannot be bribed, even by the blazing stones of the Celestial City. The thief compliments the things he steals, if not the owner of them. But the suicide insults everything on earth by not stealing it. He defiles every flower by refusing to live for its sake. There is not a tiny creature in the cosmos at whom his death is not a sneer. When a man hangs himself on a tree, the leaves might fall off in anger and the birds fly away in fury: for each has received a personal affront. Of course there may be pathetic emotional excuses for the act. There often are for rape, and there almost always are for dynamite. But if it comes to clear ideas and the intelligent meaning of things, then there is much more rational and philosophic truth in the burial at the cross-roads and the stake driven through the body, than in Mr. Archer's suicidal automatic machines. There is a meaning in burying the suicide apart. The man's crime is different from other crimes -- for it makes even crimes impossible. (Chapter 5. The Flag of the World)