One of the three main characters in VN’s novel Pale Fire (1962), Jakob Gradus (Shade’s murderer) is the son of Martin Gradus, a Protestant minister in Riga:
By an extraordinary coincidence (inherent perhaps in the contrapuntal nature of Shade's art) our poet seems to name here (gradual, gray) a man, whom he was to see for one fatal moment three weeks later, but of whose existence at the time (July 2) he could not have known. Jakob Gradus called himself variously Jack Degree or Jacques de Grey, or James de Gray, and also appears in police records as Ravus, Ravenstone, and d'Argus. Having a morbid affection for the ruddy Russia of the Soviet era, he contended that the real origin of his name should be sought in the Russian word for grape, vinograd, to which a Latin suffix had adhered, making it Vinogradus. His father, Martin Gradus, had been a Protestant minister in Riga, but except for him and a maternal uncle (Roman Tselovalnikov, police officer and part-time member of the Social-Revolutionary party), the whole clan seems to have been in the liquor business. Martin Gradus died in 1920, and his widow moved to Strasbourg where she soon died, too. Another Gradus, an Alsatian merchant, who oddly enough was totally unrelated to our killer but had been a close business friend of his kinsmen for years, adopted the boy and raised him with his own children. It would seem that at one time young Gradus studied pharmacology in Zurich, and at another, traveled to misty vineyards as an itinerant wine taster. We find him next engaging in petty subversive activities - printing peevish pamphlets, acting as messenger for obscure syndicalist groups, organizing strikes at glass factories, and that sort of thing. Sometime in the forties he came to Zembla as a brandy salesman. There he married a publican's daughter. His connection with the Extremist party dates from its first ugly writhings, and when the revolution broke out, his modest organizational gifts found some appreciation in various offices. His departure for Western Europe, with a sordid purpose in his heart and a loaded gun in his pocket, took place on the very day that an innocent poet in an innocent land was beginning Canto Two of Pale Fire. We shall accompany Gradus in constant thought, as he makes his way from distant dim Zembla to green Appalachia, through the entire length of the poem, following the road of its rhythm, riding past in a rhyme, skidding around the corner of a run-on, breathing with the caesura, swinging down to the foot of the page from line to line as from branch to branch, hiding between two words (see note to line 596), reappearing on the horizon of a new canto, steadily marching nearer in iambic motion, crossing streets, moving up with his valise on the escalator of the pentameter, stepping off, boarding a new train of thought, entering the hall of a hotel, putting out the bedlight, while Shade blots out a word, and falling asleep as the poet lays down his pen for the night. (Kinbote's note to Line 17)
In Selma Lagerlöf's The Wonderful Adventures of Nils (1907) Martin is the farm's white goose who decides to join the wild geese flying south, and Nils, after being shrunk by a magical tomte (gnome), clings to his neck to go with them. The Russian title of Selma Lagerlöf's book, Chudesnoe puteshestvie Nil'sa s dikimi gusyami ("Nils's Wonderful Journey with the Wild Geese"), brings to mind Colonel Peter Gusev (King Alfin’s constant "aerial adjutant" whose surname comes from gus', "goose"):
King 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)
and his son Oleg Gusev (the beloved playmate of Prince Charles Xavier Vseslav):
We shall now go back from mid-August 1958 to a certain afternoon in May three decades earlier when he was a dark strong lad of thirteen with a silver ring on the forefinger of his sun-tanned hand. Queen Blenda, his mother, had recently left for Vienna and Rome. He had several dear playmates but none could compete with Oleg, Duke of Rahl. In those days growing boys of high-born families wore on festive occasions-of which we had so many during our long northern springsleeveless jerseys, white anklesocks with black buckle shoes, and very tight, very short shorts called hotinguens. I wish I could provide the reader with cut-out figures and parts of attire as given in paper-doll charts for children armed with scissors. It would brighten a little these dark evenings that are destroying my brain. Both lads were handsome, long-legged specimens of Varangian boyhood. At twelve, Oleg was the best center forward at the Ducal School. When stripped and shiny in the mist of the bath house, his bold virilia contrasted harshly with his girlish grace. He was a regular faunlet. On that particular afternoon a copious shower lacquered the spring foliage of the palace garden, and oh, how the Persian lilacs in riotous bloom tumbled and tossed behind the green-streaming, amethyst-blotched windowpanes! One would have to play indoors. Oleg was late. Would he come at all?
It occurred to the young Prince to disinter a set of precious toys (the gift of a foreign potentate who had.recently been assassinated) which had amused Oleg and him during a previous Easter, and then had been laid aside as happens with those special, artistic playthings which allow iheir bubble of pleasure to yield all its tang at once before retreating into museum oblivion. What he particularly desired to rediscover now was an elaborate toy circus contained in a box as big as a croquet case. He craved for it; his eyes, his brain, and that in his brain which corresponded to the ball of his thumb, vividly remembered the brown boy acrobats with spangled nates, an elegant and melancholy clown with a ruff, and especially three pup-sized elephants of polished wood with such versatile joints that you could make the sleek jumbo stand upright on one foreleg or rear up solidly on the top of a small white barrel ringed with red. Less than a fortnight had passed since Oleg's last visit, when for the first time the two boys had been allowed to share the same bed, and the tingle of their misbehavior, and the foreglow of another such night, were now mixed in our young Prince with an embarrassment that suggested refuge in earlier, more innocent games. His English tutor who, after a picnic in Mandevil Forest, was laid up with a sprained ankle, did not know where that circus might be; he advised looking for it in an old lumber room at the end of the West Gallery. Thither the Prince betook himself. That dusty black trunk? It looked grimly negative. The rain was more audible here owing to the proximity of a prolix gutter pipe. What about the closet? Its gilt key turned reluctantly. All three shelves and the space beneath were stuffed with disparate objects: a palette. with the dregs of many sunsets; a cupful of counters; an ivory backscratcher, a thirty-twomo edition of Timon of Athens translated into Zemblan by his uncle Conmal, the Queen's brother; a seaside situla (toy pail); a sixty-five-carat blue diamond accidentally added in his childhood, from his late father's knickknackatory, to the pebbles and shells in that pail; a finger of chalk; and a square board with a design of interlaced figures for some long-forgotten game. He was about to look elsewhere in the closet when on trying to dislodge a piece of black velvet, one corner of which had unaccountably got caught behind the shelf, something gave, the shelf budged, proved removable, and revealed just under its farther edge, in the back of the closet, a keyhole to which the same gilt key was found to fit.
Impatiently he cleared the other two shelves of all they held (mainly old clothes and shoes), removed them as he had done with the middle one, and unlocked the sliding door at the back of the closet. The elephants were forgotten, he stood on the threshold of a secret passage. Its deep darkness was total but something about its speluncar acoustics foretold, clearing its throat hollowly, great things, and he hurried to his own quarters to fetch a couple of flashlights and a pedometer. As he was returning, Oleg arrived: He carried a tulip. His soft blond locks had been cut since his last visit to the palace, and the young Prince thought: Yes, I knew he would be different. But when Oleg knitted his golden brows and bent close to hear about the discovery, the young Prince knew by the downy warmth of that crimson ear and by the vivacious nod greeting the proposed investigation, that no change had occurred in his dear bedfellow. As soon as Monsieur Beauchamp had sat down for a game of chess at the bedside of Mr. Campbell and had offered his raised fists to choose from, the young Prince took Oleg to the magical closet. The wary, silent, green-carpeted steps of an escalier dérobé: led to a stone-paved underground passage. Strictly speaking it was "underground" only in brief spells when, after burrowing under the southwest vestibule next to the lumber room, it went under a series of terraces, under the avenue of birches in the royal park, and then under the three transverse streets, Academy Boulevard, Coriolanus Lane and Timon Alley, that still separated it from its final destination. Otherwise, in its angular and cryptic course it adapted itself to the various structures which it followed, here availing itself of a bulwark to fit in its side like a pencil in the pencil hold of a pocket diary, there running through the cellars of a great mansion too rich in dark passageways to notice the stealthy intrusion. Possibly, in the intervening years, certain arcane connections had been established between the abandoned passage and the outer world by the random repercussions of work in surrounding layers of masonry or by the blind pokings of time itself; for here and there magic apertures and penetrations, so narrow and deep as to drive one insane, could be deduced from a pool of sweet, foul ditch water, bespeaking a moat, or from a dusky odor of earth and turf, marking the proximity of a glacis slope overhead; and at one point, where the passage crept through the basement of a huge ducal villa, with hothouses famous for their collections of desert flora, a light spread of sand momentarily changed the sound of one's tread. Oleg walked in front: his shapely buttocks encased in tight indigo cotton moved alertly, and his own erect radiance, rather than his flambeau, seemed to illume with leaps of light the low ceiling and crowding wails. Behind him the young Prince's electric torch played on the ground and gave a coating of flour to the back of Oleg's bare thighs. The air was musty and cold. On and on went the fantastic burrow. It developed a slight ascending grade. The pedometer had tocked off 1,888 yards, when at last they reached the end. The magic key of the lumber room closet slipped with gratifying ease into the keyhole of a green door confronting them, and would have accomplished the act promised by its smooth entrance, had not a burst of strange sounds coming from behind the door caused our explorers to pause. Two terrible voices, a man's and a woman's, now rising to a passionate pitch, now sinking to raucous undertones, were exchanging insults in Gutnish as spoken by the fisherfolk of Western Zembla. An abominable threat made the woman shriek out in fright. Sudden silence ensued, presently broken by the man's murmuring some brief phrase of casual approval ("Perfect, my dear," or "Couldn't be better") that was more eerie than anything that had come before.
Without consulting each other, the young Prince and his friend veered in absurd panic and, with the pedometer beating wildly, raced back the way they had come. "Ouf!" said Oleg once the last shelf had been replaced. "You're all chalky behind," said the young Prince as they swung upstairs. They found Beauchamp and Campbell ending their game in a draw. It was near dinner time. The two lads were told to wash their hands. The recent thrill of adventure had been superseded already by another sort of excitement. They locked themselves up. The tap ran unheeded. Both were in a manly state and moaning like doves. This detailed recollection, whose structure and maculation have taken some time to describe in this note, skimmed through the King's memory in one instant. Certain creatures of the past, and this was one of them, may lie dormant for thirty years as this one had, while their natural habitat undergoes calamitous alterations. Soon after the discovery of the secret passage he almost died of pneumonia. In his delirium he would strive one moment to follow a luminous disk probing an endless tunnel and try the next to clasp the melting haunches of his fair ingle. To recuperate he was sent for a couple of seasons to southern Europe. The death of Oleg at fifteen, in a toboggan accident, helped to obliterate the reality of their adventure. A national revolution was needed to make that secret passage real again. (note to Line 130)
Oleg, Duke of Rahl, 1916-1931, son of Colonel Gusev, Duke of Rahl (b .1885, still spry); K.'s beloved playmate, killed in a toboggan accident, 130. (Index)
A namesake of Samuel Clemens (Mark Twain's real name) and Samuel Butler (an English novelist and critic, 1835-19o2, who is best known for his satirical utopian novel Erewhon, 1872), Samuel Shade (the poet's father, an amateur ornithologist) brings to mind Lemuel Gulliver, the fictional protagonist and narrator of Gulliver's Travels (1726), a novel by Jonathan Swift (an Anglo-Irish writer, 1667-1745). Swift's birthday, November 30, is also the birthday of Mark Twain (an American writer, 1835-1910). In one of his variants (cited by Kinbote in his commentary) Shade mentions poor old man Swift:
A beautiful variant, with one curious gap, branches off at this point in the draft (dated July 6):
Strange Other World where all our still-born dwell,
And pets, revived, and invalids, grown well,
And minds that died before arriving there:
Poor old man Swift, poor —, poor Baudelaire
What might that dash stand for? Unless Shade gave prosodic value to the mute e in “Baudelaire,” which I am quite certain he would never have done in English verse (cp. “Rabelais,” line 501), the name required here must scan as a trochee. Among the names of celebrated poets, painters, philosophers, etc., known to have become insane or to have sunk into senile imbecility, we find many suitable ones. Was Shade confronted by too much variety with nothing to help logic choose and so left a blank, relying upon the mysterious organic force that rescues poets to fill it in at its own convenience? Or was there something else—some obscure intuition, some prophetic scruple that prevented him from spelling out the name of an eminent man who happened to be an intimate friend of his? Was he perhaps playing safe because a reader in his household might have objected to that particular name being mentioned? And if it comes to that, why mention it at all in this tragical context? Dark, disturbing thoughts. (note to Line 231)
Kinbote (Shade’s mad commentator who imagines that he is Charles the Beloved, the last self-exiled king of Zembla) is afraid that this dash stands for his name. Actually, it stands for Botkin (Shade’s, Kinbote’s and Gradus’ “real” name). An American scholar of Russian descent, Professor Vsevolod Botkin went mad and became Shade, Kinbote and Gradus after the tragic death of his daughter Nadezhda (Hazel Shade of Kinbote’s Commentary). 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 and of Jonathan Swift's death), Botkin, like Count Vorontsov (a target of Pushkin’s epigrams, “half-milord, half-merchant, etc.”), will be full again.
Samuel Shade, Colonel Peter Gusev (the real father of Charles Xavier Vseslav) and Martin Gradus seem to be one and the same person whose "real" name is Pyotr Botkin. Vsevolod Botkin's patronymic is, therefore, Petrovich. Gradus and Petrovich bring to mind Krasuysya, grad Petrov, i stoy / Nekolebimo kak Rossiya (Shine on, the city of Peter, and stand / Invincible like Russia), the lines in Pushkin's Prologue to Mednyi vsadnik ("The Bronze Horseman," 1833). At the beginning of the Prologue Pushkin mentions shved (Charles XII, King of Sweden) and nadmennyi sosed (the arrogant neighbor, i. e. Sweden):
На берегу пустынных волн
Стоял он, дум великих полн,
И вдаль глядел. Пред ним широко
Река неслася; бедный чёлн
По ней стремился одиноко.
По мшистым, топким берегам
Чернели избы здесь и там,
Приют убогого чухонца;
И лес, неведомый лучам
В тумане спрятанного солнца,
Кругом шумел.
И думал он:
Отсель грозить мы будем шведу,
Здесь будет город заложён
На зло надменному соседу.
Природой здесь нам суждено
В Европу прорубить окно,1
Ногою твёрдой стать при море.
Сюда по новым им волнам
Все флаги в гости будут к нам,
И запируем на просторе.
1. Альгаротти где-то сказал: «Pétersbourg est la fenêtre par laquelle la Russie regarde en Europe» (Pushkin's note).
On the banks of a wilderness of water
one man stood, brimming with thoughts,
as his eyes advanced to the horizon.
The breadth of the river surged forward,
and a single, ramshackle canoe sped by.
Along the moss-ruled, swampy shores
he saw the dark and scattered huts
of the godforsaken Finns;
and the forest, foreign to the sun,
sounded around him.
And he thought:
"It’s here we’ll threaten the Swedes from,
where we’ll set our city’s first stones
to spite our power-drunk neighbours.
We’ll make a slave of nature,
hack a window through to Europe
and by this sea put down firm feet.
All flags will find their way
across these waves, to our feast
out here in these wastes."
(tr. Alistair Noon)
1. Algarotti says somewhere: «Pétersbourg est la fenêtre par laquelle la Russie regarde en Europe». (Pushkin's note)
Describing the reign of Charles the Beloved, Kinbote mentions a contented Sosed (Zembla's gigantic neighbor):
That King's reign (1936-1958) will be remembered by at least a few discerning historians as a peaceful and elegant one. Owing to a fluid system of judicious alliances, Mars in his time never marred the record. Internally, until corruption, betrayal, and Extremism penetrated it, the People's Place (parliament) worked in perfect harmony with the Royal Council. Harmony, indeed, was the reign's password. The polite arts and pure sciences flourished. Technicology, applied physics, industrial chemistry and so forth were suffered to thrive. A small skyscraper of ultramarine glass was steadily rising in Onhava. The climate seemed to be improving. Taxation had become a thing of beauty. The poor were a little richer, and the rich a little poorer (in accordance what may be known some day as Kinbote's Law). Medical care was spreading to the confines of the state; less and less often, on his tour of the country, every autumn, when the rowans hung coral-heavy and the puddles tinkled with Muscovy glass, the friendly and eloquent monarch would be interrupted by a pertussal "backdraucht" in a crowd of schoolchildren. Parachuting had become a popular sport. Everybody, in a word, was content--even the political mischiefmakers who were contentedly making mischief paid by a contented Sosed (Zembla's gigantic neighbor). But let us not pursue this tiresome subject. (note to Line 12)