In Canto Two of his poem John Shade (the poet in VN’s novel Pale Fire, 1962) describes his daughter’s tragic death and mentions the preview of Remorse:
"Was that the phone?" You listened at the door.
More headlights in the fog. There was no sense
In window-rubbing: only some white fence
And the reflector poles passed by unmasked.
"Are we quite sure she's acting right?" you asked.
"It's technically a blind date, of course.
Well, shall we try the preview of Remorse?"
And we allowed, in all tranquillity,
The famous film to spread its charmed marquee;
The famous face flowed in, fair and inane:
The parted lips, the swimming eyes, the grain
Of beauty on the cheek, odd gallicism,
And the soft form dissolving in the prism
Of corporate desire. "I think," she said,
"I'll get off here." "It's only Lochanhead."
"Yes, that's okay." Gripping the stang, she peered
At ghostly trees. Bus stopped. Bus disappeared. (ll. 443-460)
Remorse is a poem by Emily Dickinson:
Remorse is memory awake,
Her companies astir, —
A presence of departed acts
At window and at door.
It's past set down before the soul,
And lighted with a match,
Perusal to facilitate
Of its condensed despatch.
Remorse is cureless, — the disease
Not even God can heal;
For 't is his institution, —
The complement of hell.
The New Remorse is a sonnet by Oscar Wilde:
The sin was mine; I did not understand.
So now is music prisoned in her cave,
Save where some ebbing desultory wave
Frets with its restless whirls this meagre strand.
And in the withered hollow of this land
Hath Summer dug herself so deep a grave,
That hardly can the leaden willow crave
One silver blossom from keen Winter’s hand.
But who is this who cometh by the shore?
(Nay, love, look up and wonder!) Who is this
Who cometh in dyed garments from the South?
It is thy new-found Lord, and he shall kiss
The yet unravished roses of thy mouth,
And I shall weep and worship, as before.
In his sonnet Wilde mentions the leaden willow. According to Kinbote (Shade’s mad commentator who imagines that he is Charles the Beloved, the last self-exiled king of Zembla), the Zemblan word for the weeping willow is if:
Line 501: L'if
The yew in French. It is curious that the Zemblan word for the weeping willow is also "if" (the yew is tas).
The yew in Russian is tis. There is tis in Otis (in Oscar Wilde's story The Canterville Ghost the family of Hiram B. Otis, the American Minister to the Court of St. James's, moves into Canterville Chase, an English country house) and in Outis (Gr., Nobody).
In Canto Three of his poem Shade describes IPH (a lay Institute of Preparation for the Hereafter) and quotes the words of his wife Sybil: “I really could not tell the differences between this place [IPH] and Hell:”
A wrench, a rift - that's all one can foresee.
Maybe one finds le grand néant; maybe
Again one spirals from the tuber's eye.
As you remarked the last time we went by
The Institute: "I really could not tell
The differences between this place and Hell." (ll. 617-622)
Emily Dickinson’s poem Remorse ends in the line "The complement of hell." “Hell” is the last word in Emily Dickinson’s poem “My life closed twice before its close:”
My life closed twice before its close—
It yet remains to see
If Immortality unveil
A third event to me
So huge, so hopeless to conceive
As these that twice befell.
Parting is all we know of heaven,
And all we need of hell.
According to Oscar Wilde, each of us has heaven and hell in him. The capital of Kinbote’s Zembla, Onhava seems to hint at heaven.
"So now is music prisoned in her cave" (Line 2 of Wilde's sonnet The New Remorse) brings to mind Emily Dickinson's poem “Split the Lark — and you'll find the Music:”
Split the Lark — and you'll find the Music —
Bulb after Bulb, in Silver rolled —
Scantilly dealt to the Summer Morning
Saved for your Ear when Lutes be old.
Loose the Flood — you shall find it patent —
Gush after Gush, reserved for you —
Scarlet Experiment! Sceptic Thomas!
Now, do you doubt that your Bird was true?
In his Foreword to Shade's poem Kinbote curses the music in what he calls "a very loud amusement park right in front of my present lodgings:"
A methodical man, John Shade usually copied out his daily quota of completed lines at midnight but even if he recopied them again later, as I suspect he sometimes did, he marked his card or cards not with the date of his final adjustments, but with that of his Corrected Draft or first Fair Copy. I mean, he preserved the date of actual creation rather than that of second or third thoughts. There is a very loud amusement park right in front of my present lodgings. We possess in result a complete calendar of his work. Canto One was begun in the small hours of July 2 and completed on July 4. He started the next canto on his birthday and finished it on July 11. Another week was devoted to Canto Three. Canto Four was begun on July 19, and as already noted, the last third of its text (lines 949-999) is supplied by a Corrected Draft. This is extremely rough in appearance, teeming with devastating erasures and cataclysmic insertions, and does not follow the lines of the card as rigidly as the Fair Copy does. Actually, it turns out to be beautifully accurate when you once make the plunge and compel yourself to open your eyes in the limpid depths under its confused surface. It contains not one gappy line, not one doubtful reading. This fact would be sufficient to show that the imputations made (on July 24, 1959) in a newspaper interview with one of our professed Shadeans - who affirmed without having seen the manuscript of the poem that it "consists of disjointed drafts none of which yields a definite text" - is a malicious invention on the part of those who would wish not so much to deplore the state in which a great poet's work was interrupted by death as to asperse the competence, and perhaps honesty, of its present editor and commentator.
Another pronouncement publicly made by Prof. Hurley and his clique refers to a structural matter. I quote from the same interview: "None can say how long John Shade planned his poem to be, but it is not improbable that what he left represents only a small fraction of the composition he saw in a glass, darkly." Nonsense again! Aside from the veritable clarion of internal evidence ringing throughout Canto Four, there exists Sybil Shade's affirmation (in a document dated July 25, 1959) that her husband "never intended to go beyond four parts." For him the third canto was the penultimate one, and thus I myself have heard him speak of it, in the course of a sunset ramble, when, as if thinking aloud, he reviewed the day's work and gesticulated in pardonable self-approbation while his discreet companion kept trying in vain to adapt the swing of a long-limbed gait to the disheveled old poet's jerky shuffle. Nay, I shall even assert (as our shadows still walk without us) that there remained to be written only one line of the poem (namely verse 1000) which would have been identical to line 1 and would have completed the symmetry of the structure, with its two identical central parts, solid and ample, forming together with the shorter flanks twin wings of five hundred verses each, and damn that music. Knowing Shade's combinational turn of mind and subtle sense of harmonic balance, I cannot imagine that he intended to deform the faces of his crystal by meddling with its predictable growth. And if all this were not enough - and it is, it is enough - I have had the dramatic occasion of hearing my poor friend's own voice proclaim on the evening of July 21 the end, or almost the end, of his labors. (See my note to line 991.)
Kinbote calls his dwellings "my cave in Cedarn" (cf. "So now is music prisoned in her cave").