In VN's novel Pnin (1957) the narrator several times mentions Frieze Hall at Waindell College:
President Poore, a tall, slow, elderly man wearing dark glasses, had started to lose his sight a couple of years before and was now almost totally blind. With solar regularity, however, he would be led every day by his niece and secretary to Frieze Hall; he came, a figure of antique dignity, moving in his private darkness to an invisible luncheon, and although everybody had long grown accustomed to his tragic entrance, there was invariably the shadow of a hush while he was being steered to his carved chair and while he groped for the edge of the table; and it was strange to see, directly behind him on the wall, his stylized likeness in a mauve double-breasted suit and mahogany shoes, gazing with radiant magenta eyes at the scrolls handed him by Richard Wagner, Dostoyevsky, and Confucius, a group that Oleg Komarov, of the Fine Arts Department, had painted a decade ago into Lang's celebrated mural of 1938, which carried all around the dining-room a pageant of historical figures and Waindell faculty members. (Chapter Three, 5)
The 1954 Fall Term had begun. Again the marble neck of a homely Venus in the vestibule of Humanities Hall received the vermilion imprint, in applied lipstick, of a mimicked kiss. Again the Waindell Recorder discussed the Parking Problem. Again in the margins of library books earnest freshmen inscribed such helpful glosses as 'Description of Nature', or 'Irony'; and in a pretty edition of Mallarmé's poems an especially able scholiast had already underlined in violet ink the difficult word oiseaux and scrawled above it 'birds'. Again autumn gales plastered dead leaves against one side of the latticed gallery leading from Humanities to Frieze Hall. Again, on serene afternoons, huge amber-brown Monarch butterflies flapped over asphalt and lawn as they lazily drifted south, their incompletely retracted black legs hanging rather low beneath their polka-dotted bodies. (Chapter Six, 1)
In classical architecture, the frieze is the wide central section of an entablature. Entablatures are commonly divided into the architrave (the supporting member immediately above; equivalent to the lintel in post and lintel construction), the frieze (an unmolded strip that may or may not be ornamented), and the cornice (the projecting member below the pediment). In an extraordinary sonnet that he composed directly in English Conmal (in VN's novel Pale Fire, 1962, the Zemblan translator of Shakespeare) mentions the architrave:
English being Conmal's prerogative, his Shakspere remained invulnerable throughout the greater part of his long life. The venerable Duke was famed for the nobility of his work; few dared question its fidelity. Personally, I had never the heart to check it. One callous Academician who did, lost his seat in result and was severely reprimanded by Conmal in an extraordinary sonnet composed directly in colorful, if not quite correct, English, beginning:
I am not slave! Let be my critic slave.
I cannot be. And Shakespeare would not want thus.
Let drawing students copy the acanthus,
I work with Master on the architrave! (Kinbote's note to Line 962)
The name Conmal seems to hint at Que tu me connois mal , ô ma chere Ophélie! (Hamlet's words to Ophelia in Jean-François Ducis's French version, 1772, of Shakespeare's play). President Poore brings to mind Hamlet's exclamation "Alas, poor Yorick!" On the other hand, Conmal makes one think of The Malcontent (1604), a play by John Marston (1576-1634). It was adapted for stage by John Webster (c.1578-c.1632), the author of The White Devil (1612) and The Duchess of Malfi (written in 1612-13 and originally published as The Tragedy of the Dutchesse of Malfy in 1623), a Jacobean revenge tragedy. Duchess of Payn, of Great Payn and Mone, Queen Disa (in Pale Fire, the wife of Charles the Beloved, the last self-exiled king of Zembla) seems be a cross between Leonardo's Mona Lisa and Desdemona, Othello's wife in Shakespeare's Othello. In a poem that he contributed to the school magazine Victor Wind (in Pnin, the son of Eric Wind and Liza Bogolepov, Pnin's former wife) mentions Leonardo and his Mona Lisa:
To the latest issue of the school magazine Victor had contributed a poem about painters, over the nom de guerre Moinet, and under the motto 'Bad reds should all be avoided; even if carefully manufactured, they are still bad' (quoted from an old book on the technique of painting but smacking of a political aphorism). The poem began:
Leonardo! Strange diseases
strike at madders mixed with lead:
nun-pale now are Mona Lisa's
lips that you had made so red. (Chapter Four, 5)
Victor imagines that his father is the king who refuses to abdicate and prefers to go into exile:
The King, his father, wearing a very white sports shirt open at the throat and a very black blazer, sat at a spacious desk whose highly polished surface twinned his upper half in reverse, making of him a kind of court card. Ancestral portraits darkened the walls of the vast panelled room. Otherwise, it was not unlike the headmaster's study at St Bart's School, on the Atlantic seaboard, some three thousand miles west of the imagined Palace. A copious spring shower kept lashing at the french windows, beyond which young greenery, all eyes, shivered and streamed. Nothing but this sheet of rain seemed to separate and protect the Palace from the revolution that for several days had been rocking the city.... Actually, Victor's father was a cranky refugee doctor, whom the lad had never much liked and had not seen now for almost two years.
The King, his more plausible father, had decided not to abdicate. No newspapers were coming out. The Orient Express was stranded, with all its transient passengers, at a suburban station, on the platform of which, reflected in puddles, picturesque peasants stood and gaped at the curtained windows of the long, mysterious cars. The Palace, and its terraced gardens, and the city below the palatial hill, and the main city square, where decapitations and folk dances had already started, despite the weather--all this was at the heart of a cross whose arms terminated in Trieste, Graz, Budapest, and Zagreb, as designated in Rand McNally's Ready Reference Atlas of the World. And at the heart of that heart sat the King, pale and calm, and on the whole closely resembling his son as that under-former imagined he would look at forty himself. Pale and calm, a cup of coffee in his hand, his back to the emerald-and-grey window, the King sat listening to a masked messenger, a corpulent old nobleman in a wet cloak, who had managed to make his way through the rebellion and the rain from the besieged Council Hall to the isolated Palace.
'Abdication! One-third of the alphabet!' coldly quipped the King, with the trace of an accent. 'The answer is no. I prefer the unknown quantity of exile.'
Saying this, the King, a widower, glanced at the desk photograph of a beautiful dead woman, at those great blue eyes, that carmine mouth (it was a coloured photo, not fit for a king, but no matter). The lilacs, in sudden premature bloom, wildly beat, like shut-out maskers, at the dripping panes. The old messenger bowed and walked backward through the wilderness of the study, wondering secretly whether it would not be wiser for him to leave history alone and make a dash for Vienna where he had some property.... Of course, Victor's mother was not really dead; she had left his everyday father, Dr Eric Wind (now in South America), and was about to be married in Buffalo to a man named Church.
Victor indulged night after night in these mild fancies, trying to induce sleep in his cold cubicle which was exposed to every noise in the restless dorm. Generally he did not reach that crucial flight episode when the King alone--solus rex (as chess problem makers term royal solitude)--paced a beach on the Bohemian Sea, at Tempest Point, where Percival Blake, a cheerful American adventurer, had promised to meet him with a powerful motor-boat. Indeed, the very act of postponing that thrilling and soothing episode, the very protraction of its lure, coming as it did on top of the repetitive fancy, formed the main mechanism of its soporific effect.
An Italian film made in Berlin for American consumption, with a wild-eyed youngster in rumpled shorts, pursued through slums and ruins and a brothel or two by a multiple agent; a version of The Scarlet Pimpernel, recently staged at St Martha's, the nearest girls' school; an anonymous Kafkaesque story in a ci-devant avant-garde magazine read aloud in class by Mr Pennant, a melancholy Englishman with a past; and, not least, the residue of various family allusions of long standing to the flight of Russian intellectuals from Lenin's régime thirty-five years ago--these were the obvious sources of Victor's fantasies; they may have been, at one time, intensely affecting; by now they had become frankly utilitarian, as a simple and pleasant drug. (Chapter Four, 1)
Frieze Hall in Pnin brings to mind Shade Hall in Pale Fire:
Despite a wobbly heart (see line 735), a slight limp, and a certain curious contortion in his method of progress, Shade had an inordinate liking for long walks, but the snow bothered him, and he preferred, in winter, to have his wife call for him after classes with the car. A few days later, as I was about to leave Parthenocissus Hall - or Main Hall (or now Shade Hall, alas), I saw him waiting outside for Mrs. Shade to fetch him. I stood beside him for a minute, on the steps of the pillared porch, while pulling my gloves on, finger by finger, and looking away, as if waiting to review a regiment: "That was a thorough job," commented the poet. He consulted his wrist watch. A snowflake settled upon it. "Crystal to crystal," said Shade. I offered to take him home in my powerful Kramler. "Wives, Mr. Shade, are forgetful." He cocked his shaggy head to look at the library clock. Across the bleak expanse of snow-covered turf two radiant lads in colorful winter clothes passed, laughing and sliding. Shade glanced at his watch again and, with a shrug, accepted my offer. (Foreword)
The Russian name of the plant Parthenocissus quinquefolia (Virginia creeper) is devichiy vinograd (maiden grape). According to Kinbote (Shade's mad commentator who imagines that he is Charles the Beloved), Gradus (Shade's murderer) 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. Vinograd ("The Grapes," 1824) is a poem by Pushkin. On the other hand, Parthenocissus Hall brings to mind the Parthenon frieze, the high-relief Pentelic marble sculpture created to adorn the upper part of the Parthenon's naos (the inner chamber of an ancient Greek or Roman temple). It was sculpted between c. 443 and 437 BC, most likely under the direction of Phidias.