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), Oswin Bretwit (the former Zemblan consul in Paris) was not exactly persona grata with the new regime:
I, too, was wont to draw my poet's attention to the idyllic beauty of airplanes in the evening sky. Who could have guessed that on the very day (July 7) Shade penned this lambent line (the last one on his twenty-third card) Gradus, alias Degré, had flown from Copenhagen to Paris, thus completing the second lap of his sinister journey! Even in Arcady am I, says Death in the tombal scripture.
The activities of Gradus in Paris had been rather neatly planned by the Shadows. They were perfectly right in assuming that not only Odon but our former consul in Paris, the late Oswin Bretwit, would know where to find the King. They decided to have Gradus try Bretwit first. That gentleman had a flat in Meudon where he dwelt alone, seldom going anywhere except the National Library (where he read theosophic works and solved chess problems in old newspapers), and did not receive visitors. The Shadows' neat plan sprang from a piece of luck. Suspecting that Gradus lacked the mental equipment and mimic gifts necessary for the impersonation of an enthusiastic Royalist, they suggested he had better pose as a completely apolitical commissioner, a neutral little man interested only in getting a good price for various papers that private parties had asked him to take out of Zembla and deliver to their rightful owners. Chance, in one of its anti-Karlist moods, helped. One of the lesser Shadows whom we shall call Baron A. had a father-in-law called Baron B., a harmless old codger long retired from the civil service and quite incapable of understanding certain Renaissance aspects of the new regime. He had been, or thought he had been (retrospective distance magnifies things), a close friend of the late Minister of Foreign Affairs, Oswin Bretwit's father, and therefore was looking forward to the day when he would be able to transmit to "young" Oswin (who, he understood, was not exactly persona grata with the new regime) a bundle of precious family papers that the dusty baron had come across by chance in the files of a governmental office. All at once he was informed that now the day had come: the documents would be immediately forwarded to Paris. He was also allowed to prefix a brief note to them which read:
Here are some precious papers belonging to your family. I cannot do better than place them in the hands of the son of the great man who was my fellow student in Heidelberg and my teacher in the diplomatic service. Verba volant, scripta manent. (note to Line 286)
In Richard Aldington's novel Death of a Hero (1929) the narrator says that he was not persona grata with those in authority, because he happened to sympathize then with the young Russian Revolution:
Elizabeth’s resistance, at that precise moment, to the advances of Mr. Reginald Burnside, seems to me a striking example of George’s infelicity. I mean that I see a direct link between it and the sudden inexplicable standing up of a man in khaki before a murderous machine-gun fire, not long after dawn, on the morning of the 4th of November 1918… Not that I wish melodramatically “to set the brand of Cain” upon Elizabeth or upon Fanny or upon both jointly. Far from it. They didn’t make the war. They didn’t give George the jumps. And after all there is a doubt, almost a mystery, involved in George’s death. Did he really commit suicide? I don’t know. I’ve only got circumstantial evidence and my own hunch about it, a sort of intuition, a something haunting in my memory of the man, an Orestes-like feeling of some inexpiated guilt. Who is to say whether a man can really commit suicide on a battlefield? Desperate recklessness and looking for trouble may be the very means of his escaping the death which finds the prudent coward crouching in a shell-hole. And suppose he did deliberately get himself killed, ought we, ought I, to attach any blame to Elizabeth and Fanny? I don’t think so. There were plenty of other things to disgust him with life. And even supposing that he realized the war was ending, realized that in his state of mind he simply could not face the problem of his relation with those two women, still I think them utterly blameless. The mess was as much his fault as theirs. It was really quite an easy mess to clear up. What made it impossible was George’s shattered nerves, and for that they were not to blame. Oh, not in the least. Perhaps I’m as much to blame as anybody. I ought to have done something to get George sent out of the line. I think I might have gone to the Brigadier and have told him in private what I knew about George’s state of mind – or perhaps to his Colonel. But I didn’t go. At that time I was not persona grata with those in authority, for I happened to sympathize then with the young Russian Revolution, and had foolishly argued hotly about it. So perhaps my effort would have been wasted. And anyhow it was a very difficult and ticklish thing to do, and I was tired, very, very tired. (Part Two: Andante Cantabile, 6)
The surname Aldington brings to mind alderwood ancestry mentioned by Kinbote when he describes a conversation at the Faculty Club:
Pictures of the King had not infrequently appeared in America during the first months of the Zemblan Revolution. Every now and then some busybody on the campus with a retentive memory, or one of the clubwomen who were always after Shade and his eccentric friend, used to ask me with the inane meaningfulness adopted in such cases if anybody had told me how much I resembled that unfortunate monarch. I would counter with something on the lines of "all Chinese look alike" and change the subject. One day, however, in the lounge of the Faculty Club where I lolled surrounded by a number of my colleagues, I had to put up with a particularly embarrassing onset. A visiting German lecturer from Oxford kept exclaiming, aloud and under his breath, that the resemblance was "absolutely unheard of," and when I negligently observed that all bearded Zemblans resembled one another - and that, in fact, the name Zembla is a corruption not of the Russian zemlya, but of Semblerland, a land of reflections, of "resemblers" - my tormentor said: "Ah, yes, but King Charles wore no beard, and yet it is his very face! I had [he added] the honor of being seated within a few yards of the royal box at a Sport Festival in Onhava which I visited with my wife, who is Swedish, in 1956. We have a photograph of him at home, and her sister knew very well the mother of one of his pages, an interesting woman. Don't you see [almost tugging at Shade's lapel] the astounding similarity of features - of the upper part of the face, and the eyes, yes, the eyes, and the nose bridge?"
"Nay, sir" [said Shade, refolding a leg and slightly rolling in his armchair as wont to do when about to deliver a pronouncement] "there is no resemblance at all. I have seen the King in newsreels, and there is no resemblance. Resemblances are the shadows of differences. Different people see different similarities and similar differences."
Good Netochka, who had been looking singularly uncomfortable during this exchange, remarked in his gentle voice how sad it was to think that such a "sympathetic ruler" had probably perished in prison.
A professor of physics now joined in. He was a so-called Pink, who believed in what so-called Pinks believe in (Progressive Education, the Integrity of anyone spying for Russia, Fall-outs occasioned solely by US-made bombs, the existence in the near past of a McCarthy Era, Soviet achievements including Dr. Zhivago, and so forth): "Your regrets are groundless" [said he]. "That sorry ruler is known to have escaped disguised as a nun; but whatever happens, or has happened to him, cannot interest the Zemblan people. History has denounced him, and that is his epitaph."
Shade: "True, sir. In due time history will have denounced everybody. The King may be dead, or he may be as much alive as you and Kinbote, but let us respect facts. I have it from him [pointing to me] that the widely circulated stuff about the nun is a vulgar pro-Extremist fabrication. The Extremists and their friends invented a lot of nonsense to conceal their discomfiture; but the truth is that the King walked out of the palace, and crossed the mountains, and left the country, not in the black garb of a pale spinster but dressed as an athlete in scarlet wool."
"Strange, strange," said the German visitor, who by some quirk of alderwood ancestry had been alone to catch the eerie note that had throbbed by and was gone.
Shade [smiling and massaging my knee]: "Kings do not die--they only disappear, eh, Charles?"
"Who said that?" asked sharply, as if coming out of a trance, the ignorant, and always suspicious, Head of the English Department.
"Take my own case," continued my dear friend ignoring Mr. H. "I have been said to resemble at least four people: Samuel Johnson; the lovingly reconstructed ancestor of man in the Exton Museum; and two local characters, one being the slapdash disheveled hag who ladles out the mash in the Levin Hall cafeteria."
"The third in the witch row," I precised quaintly, and everybody laughed.
"I would rather say," remarked Mr. Pardon--American History--"that she looks like Judge Goldsworth" ("One of us," interposed Shade inclining his head), "especially when he is real mad at the whole world after a good dinner."
"I heard," hastily began Netochka, "that the Goldsworths are having a wonderful time--"
"What a pity I cannot prove my point," muttered the tenacious German visitor. "If only there was a picture here. Couldn't there be somewhere--"
"Sure," said young Emerald and left his seat.
Professor Pardon now spoke to me: "I was under the impression that you were born in Russia, and that your name was a kind of anagram of Botkin or Botkine?"
Kinbote: "You are confusing me with some refugee from Nova Zembla [sarcastically stressing the "Nova"].
"Didn't you tell me, Charles, that kinbote means regicide in your language?" asked my dear Shade.
"Yes, a king's destroyer," I said (longing to explain that a king who sinks his identity in the mirror of exile is in a sense just that).
Shade [addressing the German visitor]: "Professor Kinbote is the author of a remarkable book on surnames. I believe [to me] there exists an English translation?"
"Oxford, 1956," I replied.
"You do know Russian, though?" said Pardon. "I think I heard you, the other day, talking to--what's his name--oh, my goodness" [laboriously composing his lips].
Shade: "Sir, we all find it difficult to attack that name" [laughing].
Professor Hurley: "Think of the French word for 'tire': punoo."
Shade: "Why, sir, I am afraid you have only punctured the difficulty" [laughing uproariously].
"Flatman," quipped I. "Yes," I went on, turning to Pardon, "I certainly do speak Russian. You see, it was the fashionable language par excellence, much more so than French, among the nobles of Zembla at least, and at its court. Today, of course, all this has changed. It is now the lower classes who are forcibly taught to speak Russian."
"Aren't we, too trying to teach Russian in our schools?" said Pink.
In the meantime, at the other end of the room, young Emerald had been communing with the bookshelves. At this point he returned with the the T-Z volume of an illustrated encyclopedia.
"Well," said he, "here he is, that king. But look, he is young and handsome" ("Oh, that won't do," wailed the German visitor.) "Young, handsome, and wearing a fancy uniform," continued Emerald. "Quite the fancy pansy, in fact."
"And you," I said quietly, "are a foul-minded pup in a cheap green jacket."
"But what have I said?" the young instructor inquired of the company, spreading out his palms like a disciple in Leonardo's Last Supper.
"Now, now," said Shade. "I'm sure, Charles, our young friend never intended to insult your sovereign and namesake."
"He could not, even if he had wished," I observed placidly, turning it all into a joke.
Gerald Emerald extended his hand--which at the moment of writing still remains in that position. (note to Line 894)
Kinbote compares Gerald Emerald (a young instructor at Wordsmith University who gives Gradus, Shade's murderer, a lift to Kinbote's rented house in New Wye) to a disciple in Leonardo's Last Supper. In Prologue to Death of a Hero the narrator of Aldington's novel mentions a colored reproduction of Leonardo’s Last Supper:
But, as the hall tiles hurt his knees, he went and knelt on a hassock at the prie-dieu in his bedroom. On the top of this was an open Breviary in very ecclesiastical binding with a florid ecclesiastical book-marker, all lying on an ecclesiastical bit of embroidery, the “gift of a Catholic sister in Christ.” Above, on a bracket, was a coloured B.V.M. from the Place St. Sulpice, holding a nauseating Infant Jesus dangling a bloody and sun-rayed Sacred Heart. Over this again was a large but rather cheap-looking imitation bronze Crucifix, with a reproduction (coloured) of Leonardo’s Last Supper to the right, and another reproduction (uncoloured) of Holman Hunt’s (heretical) Light of the World to the left. All of which gave Mr. Winterbourne the deepest spiritual comfort. (MORTE D’UN ERÖE, alegretto)
Richard Aldington wrote the preface to Death of a Hero in 1929, in Paris:
To HALCOTT GLOVER
MY DEAR HAL, — Remembering George Moore’s denunciation of prefaces, I felt that what I wanted to say here could be best expressed in a letter to you. Although you are a little older than I, you belong essentially to the same generation — those who spent their childhood and adolescence struggling, like young Samsons, in the toils of the Victorians; whose early manhood coincided, with the European War. A great humber of the men of our generation died prematurely. We are unlucky or lucky enough to remain.
I began this book almost immediately after the Armistice, in a little Belgian cottage — my billet. I remember the landscape was buried deep in snow, and that we had very little fuel. Then came demobilization, and the effort of readjustment cost my manuscript its life. I threw it aside, and never picked it up again. The attempt was premature. Then, ten years later, almost day for day, I felt the impulse return, and began this book. You, I know, will read it sympathetically for many reasons. But I cannot expect the same favour from others.
This book is not the work of a professional novelist. It is, apparently, not a novel at all. Certain conventions of form and method in the novel have been erected, I gather, into immutable laws, and are looked upon with quite superstitious reverence. They are entirely disregarded here. To me the excuse for the novel is that one can do any damn thing one pleases. I am told I have done things as terrible as if you produced asides and soliloquies into your plays, and came on to the stage in the middle of a scene to take part in the action. You know how much I should be interested if you did that — I am all for disregarding artistic rules of thumb. I dislike standardized art as much as standardized life. Whether I have been guilty of Expressionism or Super-realism or not, I don’t and don’t care. I knew what I wanted to say, and said it. And I know I have not tried to be “original”.
The technique of this book, if it can be said to have one, is that which I evolved for myself in writing a longish modern poem (which you liked) called “A Fool i’ th’ Forest”. Some people said that was “jazz priate that is to the theme.
I believe you at least will be sympathetic to the implied or expressed idealism of this book. Through a good many doubts and hesitations and changes I have always preserved a certain idealism. I believe in men, I believe in a certain fundamental integrity and comradeship, without which society could not endure. How often that integrity is perverted, how often that comradeship betrayed, there is no need to tell you. I disbelieve in bunk and despotism, even in a dictatorship of the intelligentsia. I think you and I are not wholly unacquainted with the intelligentsia?
Some of the young, they who will “do the noble things that we forgot”, think differently. According to them, bunk must be parried by super-bunk. Sincerity is superannuated. It doesn’t matter what you have to say; what matters is whether you can put it across successfully. And the only hope is to forbid everybody to read except a few privileged persons (chosen how and by whom?) who will autocratically tell the rest of us what to do. Well, do we believe that? I answer on your behalf as well as my own that we emphatically do not. Of course, these young men may be Swiftian ironists.
But, as you will see, this book is really a threnody, a memorial in its ineffective way to a generation which hoped much, strove honestly, and suffered deeply. Others, of course, may see it all very differently. Why should they not? I believe that all we claim is that we try to say what appears to be the truth, and that we are not afraid either to contradict ourselves or to retract an error.
Always yours,
RICHARD ALDINGTON
Paris, 1929
According to Kinbote, there is a whiff of Swift in some of his notes:
It is so like the heart of a scholar in search of a fond name to pile a butterfly genus upon an Orphic divinity on top of the inevitable allusion to Vanhomrigh, Esther! In this connection a couple of lines from one of Swift's poems (which in these backwoods I cannot locate) have stuck in my memory:
When, lo! Vanessa in her bloom
Advanced like Atalanta's star
As to the Vanessa butterfly, it will reappear in lines 993-995 (to which see note). Shade used to say that its Old English name was The Red Admirable, later degraded to The Red Admiral. It is one of the few butterflies I happen to be familiar with. Zemblans call it harvalda (the heraldic one) possibly because a recognizable figure of it is borne in the escutcheon of the Dukes of Payn. In the autumn of certain years it used to occur rather commonly in the Palace Gardens and visit the Michaelmas daisies in company with a day-flying moth. I have seen The Red Admirable feasting on oozy plums and, once, on a dead rabbit. It is a most frolicsome fly. An almost tame specimen of it was the last natural object John Shade pointed out to me as he walked to his doom (see, see now, my note to lines 993-995).
I notice a whiff of Swift in some of my notes. I too am a desponder in my nature, an uneasy, peevish, and suspicious man, although I have my moments of volatility and fou rire. (note to Line 270)
The playwright Halcott Glover (whom Richard Aldington calls "my dear Hal") brings to mind handsome Hal (the King's guard in his royal captivity) and his gloved hand:
Somewhere an iron curtain had gone up, baring a painted one, with nymphs and nenuphars. "I shall bring you your flute tomorrow," cried Odon meaningfully in the vernacular, and smiled, and waved, already bemisted, already receding into the remoteness of his Thespian world.
The fat guard led the King back to his room and turned him over to handsome Hal. It was half past nine. The King went to bed. The valet, a moody rascal, brought him his usual milk and cognac nightcap and took away his slippers and dressing gown. The man was practically out of the room when the King commanded him to put out the light, upon which an arm re-entered and a gloved hand found and turned the switch. Distant lightning still throbbed now and then in the window. The King finished his drink in the dark and replaced the empty tumbler on the night table where it knocked with a subdued ring against a steel flashlight prepared by the thoughtful authorities in case electricity failed as it lately did now and then.
He could not sleep. Turning his head he watched the line of light under the door. Presently it was gently opened and his handsome young jailer peeped in. A bizarre little thought danced through the King's mind; but all the youth wanted was to warn his prisoner that he intended to join his companions in the adjacent court, and that the door would be locked until he returned. If, however, the ex-King needed anything, he could call from his window. "How long will you be absent?" asked the King.
"Yeg ved ik [I know not]," answered the guard. "Good night, bad boy," said the King. (note to Line 130)