The characters in VN’s novel Lolita (1955) include the Reverend Rigger, a teacher at Beardsley School whom the girls call Rev. Rigor Mortis (“stiffness of death”):
Do not misunderstand me. I cannot be absolutely certain that in the course of the winter she did not manage to have, in a casual way, improper contacts with unknown young fellows; of course, no matter how closely I controlled her leisure, there would constantly occur unaccounted-for time leaks with over-elaborate explanations to stop them up in retrospect; of course, my jealousy would constantly catch its jagged claw in the fine fabrics of nymphet falsity; but I did definitely feel - and can now vouchsafe for the accuracy of my feeling - that there was no reason for serious alarm. I felt that way not because I never once discovered any palpable hard young throat to crush among the masculine mutes that flickered somewhere in the background; but because it was to me “overwhelmingly obvious” (a favorite expression with my aunt Sybil) that all varieties of high school boys - from the perspiring nincompoop whom “holding hands” thrills, to the self-sufficient rapist with pustules and a souped-up car - equally bored my sophisticated young mistress. “All this noise about boys gags me,” she had scrawled on the inside of a schoolbook, and underneath, in Mona’s hand (Mona is due any minute now), there was the sly quip: “What about Rigger?” (due too). (2.8)
I am anticipating a little, but I cannot help running my memory all over the keyboard of that school year. In meeting my attempts to find out what kind of boys Lo knew, Miss Dahl was elegantly evasive. Lo who had gone to play tennis at Linda’s country club had telephoned she might be a full half hour late, and so, would I entertain Mona who was coming to practice with her a scene from The Taming of the Shrew. Using all the modulations, all the allure of manner and voice she was capable of and staring at me with perhaps – could I be mistaken? – a faint gleam of crystalline irony, beautiful Mona replied: “Well, sir, the fact is Dolly is not much concerned with mere boys. Fact is, we are rivals. She and I have a crush on the Reverend Rigger.” (This was a joke – I have already mentioned that gloomy giant of a man, with the jaw of a horse: he was to bore me to near murder with his impressions of Switzerland at a tea party for parents that I am unable to place correctly in terms of time.) (2.9)
Except for the Rev. Rigor Mortis (as the girls called him), and an old gentleman who taught non-obligatory German and Latin, there were no regular male teachers at Beardsley School. But on two occasions an art instructor on the Beardsley College faculty had come over to show the schoolgirls magic lantern pictures of French castles and nineteenth-century paintings. I had wanted to attend those projections and talks, but Dolly, as was her wont, had asked me not to, period. I also remembered that Gaston had referred to that particular lecturer as a brilliant garçon; but that was all; memory refused to supply me with the name of the château-lover. (2.24)
In Conan Doyle’s novel The Sign of the Four (1890) Sherlock Holmes points out to Watson that the dead man’s muscles are in a state of extreme contraction, far exceeding the usual rigor mortis:
"Before they come," said Holmes, "just put your hand here on this poor fellow's arm, and here on his leg. What do you feel?"
"The muscles are as hard as a board," I answered.
"Quite so. They are in a state of extreme contraction, far exceeding the usual rigor mortis. Coupled with this distortion of the face, this Hippocratic smile, or 'risus sardonicus,' as the old writers called it, what conclusion would it suggest to your mind?"
"Death from some powerful vegetable alkaloid," I answered,--"some strychnine-like substance which would produce tetanus."
"That was the idea which occurred to me the instant I saw the drawn muscles of the face. On getting into the room I at once looked for the means by which the poison had entered the system. As you saw, I discovered a thorn which had been driven or shot with no great force into the scalp. You observe that the part struck was that which would be turned towards the hole in the ceiling if the man were erect in his chair. Now examine the thorn."
I took it up gingerly and held it in the light of the lantern. It was long, sharp, and black, with a glazed look near the point as though some gummy substance had dried upon it. The blunt end had been trimmed and rounded off with a knife.
"Is that an English thorn?" he asked.
"No, it certainly is not."
"With all these data you should be able to draw some just inference. But here are the regulars: so the auxiliary forces may beat a retreat." (Chapter Six: “Sherlock Holmes Gives a Demonstration”)
In The Enchanted Hunters (a hotel in Briceland where Humbert and Lolita spend their first night together) Lolita tells Humbert that in Camp Q she was debauched by Charlie Holmes (the son of Shirley Holmes, the camp's headmistress). Revisiting Ramsdale in September 1952, Humbert learns from Mrs. Chatfield (whose daughter Phyllis was Lolita's classmate at the Ramsdale school) that Charlie Holmes has just been killed in Korea:
Feeling I was losing my time, I drove energetically to the downtown hotel where I had arrived with a new bag more than five years before. I took a room, made two appointments by telephone, shaved, bathed, put on black clothes and went down for a drink in the bar. Nothing had changed. The barroom was suffused with the same dim, impossible garnet-red light that in Europe years ago went with low haunts, but here meant a bit of atmosphere in a family hotel. I sat at the same little table where at the very start of my stay, immediately after becoming Charlotte’s lodger, I had thought fit to celebrate the occasion by suavely sharing with her half a bottle of champagne, which had fatally conquered her poor brimming heart. As then, a moon-faced waiter was arranging with stellar care fifty sherries on a round tray for a wedding party. Murphy-Fantasia, this time. It was eight minutes to three. As I walked though the lobby, I had to skirt a group of ladies who with mille grâces were taking leave of each other after a luncheon party. With a harsh cry of recognition, one pounced upon me. She was a stout, short woman in pearl-gray, with a long, gray, slim plume to her small hat. It was Mrs. Chatfield. She attacked me with a fake smile, all aglow with evil curiosity. (Had I done to Dolly, perhaps, what Frank Laselle, a fifty-year-old mechanic, had done o eleven-year-old Sally Horner in 1948?) Very soon I had that avid glee well under control. She thought I was in California. How was –? With exquisite pleasure I informed her that my stepdaughter had just married a brilliant young mining engineer with a hush-hush job in the Northwest. She said she disapproved of such early marriages, she would never let her Phillys, who was now eighteen –
“Oh yes, of course,” I said quietly. “I remember Phyllis. Phyllis and Camp Q. yes, of course. By the way, did she ever tell you how Charlie Holmes debauched there his mother’s little charges?”
Mrs. Chatfield’s already broken smile now disintegrated completely.
“For shame,” she cried, “for shame, Mr. Humbert! The poor boy has just been killed in Korea.”
I said didn’t she think “vient de,” with the infinitive, expressed recent events so much more neatly than the English “just,” with the past? But I had to be trotting off, I said. (2.33)
On the other hand, Rev. Rigor Mortis brings to mind Rembrandt's painting The Anatomy Lesson of Dr. Nicolaes Tulp (1632). The corpse in the picture is that of the criminal Aris Kindt (alias of Adriaan Adriaanszoon), who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded, a suggestion of umbra mortis (shadow of death), a technique that Rembrandt was to use frequently. The corpse's navel is formed from the letter R (Rembrandt van Rijn's initial).
Rembrandt Peale (1778-1860) was an American artist and museum keeper. A prolific portrait painter, he was especially acclaimed for his likenesses of presidents George Washington and Thomas Jefferson. Rembrandt Peale brings to mind Frederick Beale, Jr., the driver of the Packard that kills Charlotte (Lolita's mother):
I rushed out. The far side of our steep little street presented a peculiar sight. A big black glossy Packard had climbed Miss Opposite’s sloping lawn at an angle from the sidewalk (where a tartan laprobe had dropped in a heap), and stood there, shining in the sun, its doors open like wings, its front wheels deep in evergreen shrubbery. To the anatomical right of this car, on the trim turn of the lawn-slope, an old gentleman with a white mustache, well-dresseddouble-breasted gray suit, polka-dotted bow-tielay supine, his long legs together, like a death-size wax figure. I have to put the impact of an instantaneous vision into a sequence of words; their physical accumulation in the page impairs the actual flash, the sharp unity of impression: Rug-heap, car, old man-doll, Miss O.’s nurse running with a rustle, a half-empty tumbler in her hand, back to the screened porchwhere the propped-up, imprisoned, decrepit lady herself may be imagined screeching, but not loud enough to drown the rhythmical yaps of the Junk setter walking from group to groupfrom a bunch of neighbors already collected on the sidewalk, near the bit of checked stuff, and back to the car which he had finally run to earth, and then to another group on the lawn, consisting of Leslie, two policemen and a sturdy man with tortoise shell glasses. At this point, I should explain that the prompt appearance of the patrolmen, hardly more than a minute after the accident, was due to their having been ticketing the illegally parked cars in a cross lane two blocks down the grade; that the fellow with the glasses was Frederick Beale, Jr., driver of the Packard; that his 79-year-old father, whom the nurse had just watered on the green bank where he laya banked banker so to speakwas not in a dead faint, but was comfortably and methodically recovering from a mild heart attack or its possibility; and, finally, that the laprobe on the sidewalk (where she had so often pointed out to me with disapproval the crooked green cracks) concealed the mangled remains of Charlotte Humbert who had been knocked down and dragged several feet by the Beale car as she was hurrying across the street to drop three letters in the mailbox, at the corner of Miss Opposite’s lawn. These were picked up and handed to me by a pretty child in a dirty pink frock, and I got rid of them by clawing them to fragments in my trouser pocket. (1.23)
Speaking of busybodies, I had another visitor - friend Beale, the fellow who eliminated my wife. Stodgy and solemn, looking like a kind of assistant executioner, with his bulldog jowls, small black eyes, thickly rimmed glasses and conspicuous nostrils, he was ushered in by John who then left us, closing the door upon us, with the utmost tact. Suavely saying he had twins in my stepdaughter’s class, my grotesque visitor unrolled a large diagram he had made of the accident. It was, as my stepdaughter would have put it, “a beaut,” with all kinds of impressive arrows and dotted lines in varicolored inks. Mrs. H. H.’s trajectory was illustrated at several points by a series of those little outline figures - doll-like wee career girl or WAC - used in statistics as visual aids. Very clearly and conclusively, this route came into contact with a boldly traced sinuous line representing two consecutive swerves - one which the Beale car made to avoid the Junk dog (dog not shown), and the second, a kind of exaggerated continuation of the first, meant to avert the tragedy. A very black cross indicated the spot where the trim little outline figure had at last come to rest on the sidewalk. I looked for some similar mark to denote the place on the embankment where my visitor’s huge wax father had reclined, but there was none. That gentleman, however, had signed the document as a witness underneath the name of Leslie Tomson, Miss Opposite and a few other people.
With his hummingbird pencil deftly and delicately flying from one point to another, Frederick demonstrated his absolute innocence and the recklessness of my wife: while he was in the act of avoiding the dog, she slipped on the freshly watered asphalt and plunged forward whereas she should have flung herself not forward but backward (Fred showed how by a jerk of his padded shoulder). I said it was certainly not his fault, and the inquest upheld my view.
Breathing violently through jet-black tense nostrils, he shook his head and my hand; then, with an air of perfect savoir vivre and gentlemanly generosity, he offered to pay the funeral-home expenses. He expected me to refuse his offer. With a drunken sob of gratitude I accepted it. This took him aback. Slowly, incredulously, he repeated what he had said. I thanked him again, even more profusely than before.
In result of that weird interview, the numbness of my soul was for a moment resolved. And no wonder! I had actually seen the agent of fate. I had palpated the very flesh of fate - and its padded shoulder. A brilliant and monstrous mutation had suddenly taken place, and here was the instrument. Within the intricacies of the pattern (hurrying housewife, slippery pavement, a pest of a dog, steep grade, big car, baboon at its wheel), I could dimly distinguish my own vile contribution. Had I not been such a fool - or such an intuitive genius - to preserve that journal, fluids produced by vindictive anger and hot shame would not have blinded Charlotte in her dash to the mailbox. But even had they blinded her, still nothing might have happened, had not precise fate, that synchronizing phantom, mixed within its alembic the car and the dog and the sun and the shade and the wet and the weak and the strong and the stone. Adieu, Marlene! Fat fate’s formal handshake (as reproduced by Beale before leaving the room) brought me out of my torpor; and I wept. Ladies and gentlemen of the jury - I wept. (ibid.)
Frederick Beale is a namesake of Frédéric Chopin (1810-49), a Polish composer, the author of the funeral march (Marche funèbre, The Piano Sonata No. 2 in B minor).
Frederick Beale's children (Lolita's classmates), the twins Jack and Mary, bring to mind Thaddeus Sholto and his twin brother Bartholomew (who is discovered in a state rigor mortis), the characters in Conan Doyle's The Sign of the Four. Thaddeus Sholto is a namesake of Thaddeus Kościuszko (1746-1817), a Polish general, military engineer, and revolutionary who fought in the American Revolutionary War and in 1794 led an uprising in his home country. To Kościuszko is the name shared by three sonnets written by S. T. Coleridge, Leigh Hunt and John Keats.
'The agent of fate,' 'the very flesh of fate,' precise fate' and 'fat fate’s formal handshake' bring to mind Ludwig van Beethoven's Symphony No. 5 (1804-1808), also known as the Fate Symphony (Germ., Schicksalssinfonie). In the final (fourth) movement of his Ninth Symphony (1824) Beethoven used Friedrich Schiller’s poem An die Freude (“Ode to Joy,” 1785). A veteran of a remote war, Richard F. Schiller (Lolita's husband) is hard of hearing. When he composed the Ninth Symphony, Beethoven was practically deaf.