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) calls himself "a soft, clumsy giant" and mentions an old fox in the book publishing business:
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.
An old fox in the book publishing business brings to mind Charles James Fox (1749-1806), William Pitt's Whig rival to whom Byron refers in his poem The Age of Bronze (1823):
Reader! remember when thou wert a lad,
Then Pitt was all; or, if not all, so much,
His very rival almost deemed him such.
We - we have seen the intellectual race
Of giants stand, like Titans, face to face -
Athos and Ida, with a dashing sea
Of eloquence between, which flowed all free,
As the deep billows of the Aegean roar
Betwixt the Hellenic and the Phrygian shore.
But where are they - the rivals! a few feet
Of sullen earth divide each winding sheet.
How peaceful and how powerful is the grave,
Which hushes all! a calm, unstormy wave,
Which oversweeps the World. The theme is old
Of "Dust to Dust," but half its tale untold:
Time tempers not its terrors - still the worm
Winds its cold folds, the tomb preserves its form,
Varied above, but still alike below;
The urn may shine - the ashes will not glow -
Though Cleopatra's mummy cross the sea
O'er which from empire she lured Anthony;
Though Alexander's urn a show be grown
On shores he wept to conquer, though unknown -
How vain, how worse than vain, at length appear
The madman's wish, the Macedonian's tear!
He wept for worlds to conquer - half the earth
Knows not his name, or but his death, and birth,
And desolation; while his native Greece
Hath all of desolation, save its peace.
He "wept for worlds to conquer!" he who ne'er
Conceived the Globe, he panted not to spare!
With even the busy Northern Isle unknown,
Which holds his urn - and never knew his throne. (II)
"Dust to Dust" makes one think of Shade's words "crystal to crystal:"
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)
When he was a lad, Charles Fox was allowed to smash his father's watch on the floor:
Fox was the darling of his father, who found Charles "infinitely engaging & clever & pretty" and, from the time that his son was three years old, apparently preferred his company at meals to that of anyone else. The stories of Charles's over-indulgence by his doting father are legendary. It was said that Charles once expressed a great desire to break his father's watch and was not restrained or punished when he duly smashed it on the floor. On another occasion, when Henry had promised his son that he could watch the demolition of a wall on his estate and found that it had already been destroyed, he ordered the workmen to rebuild the wall and demolish it again, with Charles watching.
The second anecdote brings to mind a huge uncompleted building that was demolished after the catastrophe in which King Alfin (the father of Charles the Beloved) perished:
King's Alfin's absent-mindedness was strangely combined with a passion for mechanical things, especially for flying apparatuses. In 1912, he managed to rise in an umbrella-like Fabre "hydroplane" and almost got drowned in the sea between Nitra and Indra. He smashed two Farmans, three Zemblan machines, and a beloved Santos Dumont Demoiselle. A very special monoplane, Blenda IV, was built for him in 1916 by his constant "aerial adjutant" Colonel Peter Gusev (later a pioneer parachutist and, at seventy, one of the greatest jumpers of all time), and this was his bird of doom. On the serene, and not too cold, December morning that the angels chose to net his mild pure soul, King Alfin was in the act of trying solo a tricky vertical loop that Prince Andrey Kachurin, the famous Russian stunter and War One hero, had shown him in Gatchina. Something went wrong, and the little Blenda was seen to go into an uncontrolled dive. Behind and above him, in a Caudron biplane, Colonel Gusev (by then Duke of Rahl) and the Queen snapped several pictures of what seemed at first a noble and graceful evolution but then turned into something else. At the last moment, King Alfin managed to straighten out his machine and was again master of gravity when, immediately afterwards, he flew smack into the scaffolding of a huge hotel which was being constructed in the middle of a coastal heath as if for the special purpose of standing in a king's way. This uncompleted and badly gutted building was ordered razed by Queen Blenda who had it replaced by a tasteless monument of granite surmounted by an improbable type of aircraft made of bronze. The glossy prints of the enlarged photographs depicting the entire catastrophe were discovered one day by eight-year-old Charles Xavier in the drawer of a secretary bookcase. In some of these ghastly pictures one could make out the shoulders and leathern casque of the strangely unconcerned aviator, and in the penultimate one of the series, just before the white-blurred shattering crash, one distinctly saw him raise one arm in triumph, and reassurance. The boy had hideous dreams after that but his mother never found out that he had seen those infernal records. (note to Line 71)
An improbable type of aircraft made of bronze makes one think of Byron's Age of Bronze and of Pushkin's Mednyi vsadnik (The Bronze Horseman, 1833). The beginning of Part One of Pushkin's poem, Nad omrachyonnym Petrogradom dyshal noyabr' osennim khladom ("O'er darkened Petrograd November breathed with autumn chill"), brings to mind “Leningrad used to be Petrograd” in Kinbote's commentary:
We all know those dreams in which something Stygian soaks through and Lethe leaks in the dreary terms of defective plumbing. Following this line, there is a false start preserved in the draft—and I hope the reader will feel something of the chill that ran down my long and supple spine when I discovered this variant:
Should the dead murderer try to embrace
His outraged victim whom he now must face?
Do objects have a soul? Or perish must
Alike great temples and Tanagra dust?
The last syllable of “Tanagra” and the first three letters of “dust” form the name of the murderer whose shargar (puny ghost) the radiant spirit of our poet was soon to face. “Simple chance!” the pedestrian reader may cry. But let him try to see, as I have tried to see, how many such combinations are possible and plausible. “Leningrad used to be Petrograd?” “A prig rad (obs. past tense of read) us?”
This variant is so prodigious that only scholarly discipline and a scrupulous regard for the truth prevented me from inserting it here, and deleting four lines elsewhere (for example, the weak lines 627-630) so as to preserve the length of the poem. (note to Line 596)
One of the three main characters in Pale Fire, Gradus (whom Kinbote mockingly calls Vinogradus and Leningradus) is Shade's murderer. In a letter of Feb. 20, 1816, to John Murray (Byron’s publisher) Byron mentions his Gradus (prosody textbook):
Dear Sir, — To return to our business — your epistles are vastly agreeable. With regard to the observations on carelessness, etc., I think, with all humility, that the gentle reader has considered a rather uncommon, and designedly irregular versification for haste and negligence. The measure is not that of any of the other poems, which (I believe) were allowed to be tolerably correct, according to Byshe and the fingers — or ears — by which bards write, and readers reckon. Great part of The Siege is in (I think) what the learned call Anapests, (though I am not sure, being heinously forgetful of my metres and my Gradus) and many of the lines intentionally longer or shorter than its rhyming companion ; and the rhyme also occurring at greater or less intervals of caprice or convenience.
I mean not to say that this is right or good, but merely that I could have been smoother, had it appeared to me of advantage; and that I was not otherwise without being aware of the deviation, though I now feel sorry for it, as I would undoubtedly rather please than not. My wish has been to try at something different from my former efforts ; as I endeavoured to make them differ from each other. The versification of The Corsair is not that of Lara ; nor The Giaour that of The Bride; Childe Harold is again varied from these; and I strove to vary the last somewhat from all of the others. Excuse all this damned nonsense and egotism. The fact is, that I am rather trying to think on the subject of this note, than really thinking on it. I did not know you had called ; you are always admitted and welcome when you choose.
Yours, etc., etc.,
Bn.
In his parodic Ode to Count Khvostov (1825) Pushkin compares Dmitri Khvostov (a poetaster, 1757-1835, whose surname comes from khvost, "tail") to Byron and mentions lyutyi Pit (ferocious Pitt) who trembles in Styx (cf. "We all know those dreams in which something Stygian soaks through and Lethe leaks in the dreary terms of defective plumbing" in Kinbote's commentary):
Султан ярится?1 Кровь Эллады
И peзвocкачет 2, и кипит.
Открылись грекам древни клады 3,
Трепещет в Стиксе лютый Пит 4.
И се — летит продерзко судно
И мещет громы обоюдно.
Се Бейрон, Феба образец.
Притек, но недуг быстропарный 5,
Строптивый и неблагодарный
Взнес смерти на него резец.
Певец бессмертный и маститый,
Тебя Эллада днесь зовет
На место тени знаменитой,
Пред коей Цербер днесь ревет.
Как здесь, ты будешь там сенатор,
Как здесь, почтенный литератор,
Но новый лавр тебя ждет там,
Где от крови земля промокла:
Перикла лавр, лавр Фемистокла;
Лети туда, Хвостов наш! сам.
Вам с Бейроном шипела злоба,
Гремела и правдива лесть.
Он лорд — граф ты! Поэты оба!
Се, мнится, явно сходство есть. —
Никак! Ты с верною супругой 6
Под бременем Судьбы упругой
Живешь в любви — и наконец
Глубок он, но единобразен,
А ты глубок, игрив и разен,
И в шалостях ты впрям певец.
А я, неведомый Пиита,
В восторге новом воспою
Во след Пиита знаменита
Правдиву похвалу свою,
Моляся кораблю бегущу,
Да Бейрона он узрит кущу 7,
И да блюдут твой мирный сон 8
Нептун, Плутон, Зевс, Цитерея,
Гебея, Псиша, Крон, Астрея,
Феб, Игры, Смехи, Вакх, Харон.
1. Подражание г. Петрову, знаменитому нашему лирику.
2. Слово, употребленное весьма счастливо Вильгельмом Карловичем Кюхельбекером в стихотворном его письме к г. Грибоедову.
3. Под словом клады должно разуметь правдивую ненависть нынешних Леонидов, Ахиллесов и Мильтиадов к жестоким чалмоносцам.
4. Г. Питт, знаменитый английский министр и известный противник Свободы.
5. Горячка.
6. Графиня Хвостова, урожденная княжна Горчакова, достойная супруга маститого нашего Певца. Во многочисленных своих стихотворениях везде называет он ее Темирою (см. последн. замеч. в оде «Заздравный кубок»).
7. Подражание его высокопр. действ. тайн. сов. Ив. Ив. Дмитриеву, знаменитому другу гр. Хвостова:
К тебе я руки простирал
Уже из отческия кущи,
Взирая на суда бегущи.
8. Здесь поэт, увлекаясь воображением, видит уже Великого нашего лирика, погруженного в сладкий сон и приближающегося к берегам благословенной Эллады. Нептун усмиряет пред ним продерзкие волны; Плутон исходит из преисподней бездны, дабы узреть того, кто ниспошлет ему в непродолжительном времени богатую жатву теней поклонников Лжепророка; Зевес улыбается ему с небес; Цитерея (Венера) осыпает цветами своего любимого певца; Геба подъемлет кубок за здравие его; Псиша, в образе Иполита Богдановича, ему завидует; Крон удерживает косу, готовую разить; Астрея предчувствует возврат своего царствования; Феб ликует; Игры, Смехи, Вакх и Харон веселою толпою следуют за судном нашего бессмертного Пииты.
At the end of Chapter Two (XL: 3) of Eugene Onegin Pushkin mentions Lethe (one of the rivers of the underworld of Hades, the personification of forgetfulness and oblivion):
Покамест упивайтесь ею,
Сей легкой жизнию, друзья!
Ее ничтожность разумею
И мало к ней привязан я;
Для призраков закрыл я вежды;
Но отдаленные надежды
Тревожат сердце иногда:
Без неприметного следа
Мне было б грустно мир оставить.
Живу, пишу не для похвал;
Но я бы, кажется, желал
Печальный жребий свой прославить,
Чтоб обо мне, как верный друг,
Напомнил хоть единый звук.
И чье-нибудь он сердце тронет;
И, сохраненная судьбой,
Быть может, в Лете не потонет
Строфа, слагаемая мной;
Быть может (лестная надежда!),
Укажет будущий невежда
На мой прославленный портрет
И молвит: то-то был поэт!
Прими ж мои благодаренья,
Поклонник мирных аонид,
О ты, чья память сохранит
Мои летучие творенья,
Чья благосклонная рука
Потреплет лавры старика!
Meanwhile enjoy your fill of it
— of this lightsome life, friends!
Its insignificance I realize
and little am attached to it;
to phantoms I have closed my eyelids;
but distant hopes
sometimes disturb my heart:
without an imperceptible trace, I'd be sorry
to leave the world.
I live, I write not for the sake of praise;
but my sad lot, meseems,
I would desire to glorify,
so that a single sound at least
might, like a faithful friend, remind one about me.
And it will touch
the heart of someone; and preserved by fate,
perhaps in Lethe will not drown
the strophe made by me;
perhaps — flattering hope! —
a future dunce will point
at my famed portrait
and utter: “That now was a poet!”
So do accept my thanks, admirer
of the peaceful Aonian maids,
0 you whose memory will preserve
my volatile creations,
you whose benevolent hand will pat
the old man's laurels!
Pushkin hopes that the strophe made by him will not drown in Lethe. Hazel Shade (the poet's daughter whose "real" name seems to be Nadezhda Botkin) drowned in Lake Omega (Omega → Onega → Onegin). After her tragic death her father, Professor Vsevolod Botkin (an American scholar of Russian descent) went mad and became Shade, Kinbote and Gradus. Nadezhda means 'hope.' There is a hope that, when Kinbote completes his work on Shade’s poem and commits suicide (on Oct. 19, 1959, the anniversary of Pushkin's Lyceum), Botkin, like Count Vorontsov (a target of Pushkin’s epigrams, “half-milord, half-merchant, etc."), will be full again. In Zhizn’ Chernyshevskogo (“The Life of Chernyshevski”), Chapter Four of VN’s novel Dar (“The Gift,” 1937), Fyodor Konstantinovich Godunov-Cherdyntsev (the narrator and main character in The Gift) points out that Chernyshevski repeated Count Vorontsov’s words about Pushkin, "a poor imitator of Lord Byron:"
Говоря, что Пушкин был «только слабым подражателем Байрона», Чернышевский чудовищно точно воспроизводил фразу графа Воронцова: «Слабый подражатель лорда Байрона». Излюбленная мысль Добролюбова, что «у Пушкина недостаток прочного, глубокого образования» – дружеское аукание с замечанием того же Воронцова: «Нельзя быть истинным поэтом, не работая постоянно для расширения своих познаний, а их у него недостаточно». «Для гения недостаточно смастерить Евгения Онегина», – писал Надеждин, сравнивая Пушкина с портным, изобретателем жилетных узоров, и заключая умственный союз с Уваровым, министром народного просвещения, сказавшим по случаю смерти Пушкина: «Писать стишки не значит ещё проходить великое поприще».
When Chernyshevski said that Pushkin was “only a poor imitator of Byron,” he reproduced with monstrous accuracy the definition given by Count Vorontsov (Pushkin’s boss in Odessa): “A poor imitator of Lord Byron.” Dobrolyubov’s favorite idea that “Pushkin lacked a solid, deep education” is in friendly chime with Vorontsov’s remark: “One cannot be a genuine poet without constantly working to broaden one’s knowledge, and his is insufficient.” “To be a genius it is not enough to have manufactured Eugene Onegin,” wrote the progressive Nadezhdin, comparing Pushkin to a tailor, an inventor of waistcoat patterns, and thus concluding an intellectual pact with the reactionary Count Uvarov, Minister of Education, who remarked on the occasion of Pushkin’s death: “To write jingles does not mean yet to achieve a great career.”