In his foreword 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 good old Frank, his present publisher:
Imagine a soft, clumsy giant; imagine a historical personage whose knowledge of money is limited to the abstract billions of a national debt; imagine an exiled prince who is unaware of the Golconda in his cuff links! This is to say - oh, hyperbolically - that I am the most impractical fellow in the world. Between such a person and an old fox in the book publishing business, relations are at first touchingly carefree and chummy, with expansive banterings and all sorts of amiable tokens. I have no reason to suppose that anything will ever happen to prevent this initial relationship with good old Frank, my present publisher, from remaining a permanent fixture.
Frank has acknowledged the safe return of the galleys I had been sent here and has asked me to mention in my Preface - and this I willingly do - that I alone am responsible for any mistakes in my commentary. Insert before a professional. A professional proofreader has carefully rechecked the printed text of the poem against the phototype of the manuscript, and has found a few trivial misprints I had missed; that has been all in the way of outside assistance. Needless to say how much I had been looking forward to Sybil Shade's providing me with abundant biographical data; unfortunately she left New Wye even before I did, and is dwelling now with relatives in Quebec. We might have had, of course, a most fruitful correspondence, but the Shadeans were not to be shaken off. They headed for Canada in droves to pounce on the poor lady as soon as I had lost contact with her and her changeful moods. Instead of answering a month-old letter from my cave in Cedarn, listing some of my most desperate queries, such as the real name of "Jim Coates" etc., she suddenly shot me a wire, requesting me to accept Prof. H. (!) and Prof. C (!!) as coeditors of her husband's poem. How deeply this surprised and pained me! Naturally, it precluded collaboration with my friend's misguided widow.
The name of Kinbote's publisher, Frank seems to hint at Benjamin Franklin (1706-90), an American polymath: a leading writer, scientist, inventor, statesman, diplomat, printer, publisher and political philosopher. Among the most influential intellectuals of his time, Franklin was one of the Founding Fathers of the United States; a drafter and signer of the Declaration of Independence; and the first postmaster general. Franklin has been featured on the obverse of the US one-hundred-dollar bill since 1914.
A publisher is any person who decides that a book is likely to be profitable, finances its printing, distributes it, and takes the risk of a loss if it does not sell, or the profit if it does. Franklin published newspapers, almanacs, and pamphlets at his own risk quite often, but only rarely did he publish a book, because of the greater investment in paper and binding that books entailed. From 1728 to 1748, Franklin printed just sixteen books at his own risk and expense that we know were issued bound. This was more than any other printer of his time, but still it comes out to less than one a year. Most of the books Franklin published at his own risk were reprints of small inexpensive books, previously published in Britain, whose popularity was already proven.
Among the books published by Franklin is M. T. Cicero, Cato Major, Or His Discourse of Old-Age: With Explanatory Notes [translated by James Logan] (Philadelphia: Printed and sold by B. Franklin, 1744). All the books Franklin published were reprints of English works except this translation of Cicero by James Logan. He printed it in large type with red ink on the title page on creamy white imported Genoese paper to flatter the powerful Logan and to make it easy for him to read it, since he was nearly blind.
M.T. Cicero, Cato Major. . . With Explanatory Notes by Benj. Franklin, LL.D. (London: Printed for Fielding and Walker, 1778). This later London reprint of Cato Major marks Franklin’s transformation from printer and publisher into author. Here both Franklin the publisher and Logan the translator have disappeared, while Franklin is now wrongly claimed to have been the author, and his fame as an author is confirmed by the portrait frontispiece:
Cato Maior de Senectute ("Cato the Elder on Old Age") is an essay written by Cicero in 44 BC on the subject of aging and death. A Roman statesman, lawyer, scholar, philosopher, writer and Academic skeptic, Marcus Tullius Cicero (103 BC - 43 BC) is the author of Oratio in Toga Candida, a speech given by Cicero during his election campaign in 64 BC for the consulship of 63 BC. There is oratio (Latin for speech) in Horatio (a character in Shakespeare's Hamlet; Horatio Nelson, 1758-1805, was a British Vice-Admiral and Sicilian Duke). Toga candida is a white woolen toga worn in ancient Rome by senators and candidates (the Latin word candidatus comes from toga candida; candidus means "shining white"). Describing his rented house, Kinbote mentions Judge Goldsworth's four daughters (Alphina, Betty, Candida and Dee):
Lines 47-48: the frame house between Goldsworth and Wordsmith
The first name refers to the house in Dulwich Road that I rented from Hugh Warren Goldsworth, authority on Roman Law and distinguished judge. I never had the pleasure of meeting my landlord but I came to know his handwriting almost as well as I do Shade's. The second name denotes, of course, Wordsmith University. In seeming to suggest a midway situation between the two places, our poet is less concerned with spatial exactitude than with a witty exchange of syllables invoking the two masters of the heroic couplet, between whom he embowers his own muse. Actually, the "frame house on its square of green" was five miles west of the Wordsmith campus but only fifty yards or so distant from my east windows.
In the Foreword to this work I have had occasion to say something about the amenities of my habitation. The charming, charmingly vague lady (see note to line 691), who secured it for me, sight unseen, meant well, no doubt, especially since it was widely admired in the neighborhood for its "old-world spaciousness and graciousness." Actually, it was an old, dismal, white-and-black, half-timbered house, of the type termed wodnaggen in my country, with carved gables, drafty bow windows and a so-called "semi-noble" porch, surmounted by a hideous veranda. Judge Goldsworth had a wife, and four daughters. Family photographs met me in the hallway and pursued me from room to room, and although I am sure that Alphina (9), Betty (10), Candida (12), and Dee (14) will soon change from horribly cute little schoolgirls to smart young ladies and superior mothers, I must confess that their pert pictures irritated me to such an extent that finally I gathered them one by one and dumped them all in a closet under the gallows row of their cellophane-shrouded winter clothes. In the study I found a large picture of their parents, with sexes reversed, Mrs. G. resembling Malenkov, and Mr. G. a Medusa-locked hag, and this I replaced by the reproduction of a beloved early Picasso: earth boy leading raincloud horse. I did not bother, though, to do much about the family books which were also all over the house - four sets of different Children's Encyclopedias, and a stolid grown-up one that ascended all the way from shelf to shelf along a flight of stairs to burst an appendix in the attic. Judging by the novels in Mrs. Goldsworth's boudoir, her intellectual interests were fully developed, going as they did from Amber to Zen. The head of this alphabetic family had a library too, but this consisted mainly of legal works and a lot of conspicuously lettered ledgers. All the layman could glean for instruction and entertainment was a morocco-bound album in which the judge had lovingly pasted the life histories and pictures of people he had sent to prison or condemned to death: unforgettable faces of imbecile hoodlums, last smokes and last grins, a strangler's quite ordinary-looking hands, a self-made widow, the close-set merciless eyes of a homicidal maniac (somewhat resembling, I admit, the late Jacques d'Argus), a bright little parricide aged seven ("Now, sonny, we want you to tell us -"), and a sad pudgy old pederast who had blown up his blackmailer. What rather surprised me was that he, my learned landlord, and not his "missus," directed the household. Not only had he left me a detailed inventory of all such articles as cluster around a new tenant like a mob of menacing natives, but he had taken stupendous pains to write out on slips of paper recommendations, explanations, injunctions and supplementary lists. Whatever I touched on the first day of my stay yielded a specimen of Goldsworthiana. I unlocked the medicine chest in the second bathroom, and out fluttered a message advising me that the slit for discarded safety blades was too full to use. I opened the icebox, and it warned me with a bark that "no national specialties with odors hard to get rid of" should be placed therein. I pulled out the middle drawer of the desk in the study - and discovered a catalogue raisonné of its meager contents which included an assortment of ashtrays, a damask paperknife (described as "one ancient dagger brought by Mrs. Goldsworth's father from the Orient"), and an old but unused pocket diary optimistically maturing there until its calendric correspondencies came around again. Among various detailed notices affixed to a special board in the pantry, such as plumbing instructions, dissertations on electricity, discourses on cactuses and so forth, I found the diet of the black cat that came with the house:
Mon, Wed, Fri: Liver
Tue, Thu, Sat: Fish
Sun: Ground meat
(All it got from me was milk and sardines; it was a likable little creature but after a while its movements began to grate on my nerves and I farmed it out to Mrs. Finley, the cleaning woman.) But perhaps the funniest note concerned the manipulations of the window curtains which had to be drawn in different ways at different hours to prevent the sun from getting at the upholstery. A description of the position of the sun, daily and seasonal, was given for the several windows, and if I had heeded all this I would have been kept as busy as a participant in a regatta. A footnote, however, generously suggested that instead of manning the curtains, I might prefer to shift and reshift out of sun range the more precious pieces of furniture (two embroidered armchairs and a heavy "royal console") but should do it carefully lest I scratch the wall moldings. I cannot, alas, reproduce the meticulous schedule of these transposals but seem to recall that I was supposed to castle the long way before going to bed and the short way first thing in the morning. My dear Shade roared with laughter when I led him on a tour of inspection and had him find some of those bunny eggs for himself. Thank God, his robust hilarity dissipated the atmosphere of damnum infectum in which I was supposed to dwell. On his part, he regaled me with a number of anecdotes concerning the judge's dry wit and courtroom mannerisms; most of these anecdotes were doubtless folklore exaggerations, a few were evident inventions, and all were harmless. He did not bring up, my sweet old friend never did, ridiculous stories about the terrifying shadows that Judge Goldsworth's gown threw across the underworld, or about this or that beast lying in prison and positively dying of raghdirst (thirst for revenge) - crass banalities circulated by the scurrilous and the heartless - by all those for whom romance, remoteness, sealskin-lined scarlet skies, the darkening dunes of a fabulous kingdom, simply do not exist. But enough of this. Let us turn to our poet's windows. I have no desire to twist and batter an unambiguous apparatus criticus into the monstrous semblance of a novel.
In what later became the United States, the pointed lightning rod conductor (not grounded), also called a lightning attractor or Franklin rod, was invented by Benjamin Franklin in 1752 as part of his groundbreaking exploration of electricity. In his commentary Kinbote quotes in full Shade’s poem “The Nature of Electricity:”
The light never came back but it gleams again in a short poem "The Nature of Electricity", which John Shade had sent to the New York magazine The Beau and the Butterfly, some time in 1958, but which appeared only after his death:
The dead, the gentle dead - who knows?
In tungsten filaments abide,
And on my bedside table flows
Another man's departed bride.
And maybe Shakespeare floods a whole
Town with innumerable lights,
And Shelley's incandescent soul
Lures the pale moths of starless nights.
Streetlamps are numbered; and maybe
Number nine-hundred-ninety-nine
(So brightly beaming through a tree
So green) is an old friend of mine.
And when above the livid plain
Forked lightning plays, therein may dwell
The torments of a Tamerlane,
The roar of tyrants torn in hell.
Science tells us, by the way, that the Earth would not merely fall apart, but vanish like a ghost, if Electricity were suddenly removed from the world. (note to Line 347)
In The Age of Bronze (1823) Byron mentions "stoic Franklin's energetic shade, robed in the lightnings which his hand allayed:"
But lo! a Congress! What! that hallowed name
Which freed the Atlantic! May we hope the same
For outworn Europe? With the sound arise,
Like Samuel's shade to Saul's monarchic eyes,
The prophets of young Freedom, summoned far
From climes of Washington and Bolivar;
Henry, the forest-born Demosthenes,
Whose thunder shook the Philip of the seas;
And stoic Franklin's energetic shade,
Robed in the lightnings which his hand allayed;
And Washington, the tyrant-tamer, wake,
To bid us blush for these old chains, or break.
But who compose this Senate of the few
That should redeem the many? Who renew
This consecrated name, till now assigned
To councils held to benefit mankind?
Who now assemble at the holy call?
The blest Alliance, which says three are all!
An earthly Trinity! which wears the shape
Of Heaven's, as man is mimicked by the ape.
A pious Unity! in purpose one—
To melt three fools to a Napoleon[ek].
Why, Egypt's Gods were rational to these
Their dogs and oxen knew their own degrees,
And, quiet in their kennel or their shed,
Cared little, so that they were duly fed;
But these, more hungry, must have something more—
The power to bark and bite, to toss and gore.
Ah, how much happier were good Æsop's frogs
Than we! for ours are animated logs,
With ponderous malice swaying to and fro,
And crushing nations with a stupid blow;
All dully anxious to leave little work
Unto the revolutionary stork. (VIII)
Samuel's shade makes one think of Samuel Shade (the poet's father):
With commendable alacrity, Professor Hurley produced an Appreciation of John Shade's published works within a month after the poet's death. It came out in a skimpy literary review, whose name momentarily escapes me, and was shown to me in Chicago where I interrupted for a couple of days my automobile journey from New Wye to Cedarn, in these grim autumnal mountains.
A Commentary where placid scholarship should reign is not the place for blasting the preposterous defects of that little obituary. I have only mentioned it because that is where I gleaned a few meager details concerning the poet's parents. His father, Samuel Shade, who died at fifty, in 1902, had studied medicine in his youth and was vice-president of a firm of surgical instruments in Exton. His chief passion, however, was what our eloquent necrologist calls "the study of the feathered tribe," adding that "a bird had been named for him: Bombycilla Shadei" (this should be "shadei," of course). The poet's mother, nee Caroline Lukin, assisted him in his work and drew the admirable figures of his Birds of Mexico, which I remember having seen in my friend's house. What the obituarist does not know is that Lukin comes from Luke, as also do Locock and Luxon and Lukashevich. It represents one of the many instances when the amorphous-looking but live and personal hereditary patronymic grows, sometimes in fantastic shapes, around the common pebble of a Christian name. The Lukins are an old Essex family. Other names derive from professions such as Rymer, Scrivener, Limner (one who illuminates parchments), Botkin (one who makes bottekins, fancy footwear) and thousands of others. My tutor, a Scotsman, used to call any old tumble-down building a "hurley-house." But enough of this. (note to Line 71)
On the other hand, "good old Frank" in Kinbote's foreword brings to mind the "good old times" at the beginning of Byron's Age of Bronze:
The "good old times"—all times when old are good—
Are gone; the present might be if they would;
Great things have been, and are, and greater still
Want little of mere mortals but their will:
A wider space, a greener field, is given
To those who play their "tricks before high heaven."
I know not if the angels weep, but men
Have wept enough—for what?—to weep again! (I)
In a canceled variant (quoted by Kinbote in his commentary) Shade says that his age is the worst of all:
After this line, instead of lines 923-930, we find the following, lightly deleted, variant:
All artists have been born in what they call
A sorry age; mine is the worst of all:
An age that thinks spacebombs and spaceships take
A genius with a foreign name to make,
When any jackass can rig up the stuff;
An age in which a pack of rogues can bluff
The selenographer; a comic age
That sees in Dr. Schweitzer a great sage.
Having struck this out, the poet tried another theme, but these lines he also canceled:
England where poets flew the highest, now
Wants them to plod and Pegasus to plough;
Now the prosemongers of the Grubby Group,
The Message Man, the owlish Nincompoop
And all the Social Novels of our age
Leave but a pinch of coal dust on the page. (note to Line 922)
Pegasus im Joche ("Pegasus in Yoke") is a poem by Friedrich Schiller, a German poet and playwright (1759-1805). In VN's novel Lolita (1955) Dolores Haze (Lolita's full name) marries Richard F. Schiller. In Canto Three of his poem Shade describes his heart attack and mentions Hurricane Lolita that swept from Florida to Maine:
It was a year of Tempests: Hurricane
Lolita swept from Florida to Maine.
Mars glowed. Shahs married. Gloomy Russians spied.
Lang made your portrait. And one night I died. (ll. 679-82)