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), after line 274 of Shade’s poem there is a false start in the draft:
I like my name: Shade, Ombre, almost 'man'
In Spanish... (note to Line 275)
The Spanish word for “man” is hombre. El Hombre en el Umbral (The Man on the Threshold, 1952) is a story by J. L. Borges (an Argentine writer, 1899-1986). It begins as follows:
Bioy Casares trajo de Londres un curioso puñal de hoja triangular y empuñadora en forma de H; nuestro amigo Christopher Dewey, del Consejo Británico, dijo que tales armas eran de uso común en el Indostaní. Ese dictamen lo alentó a mencionar que había trabajado en aquel país, entre las dos guerras (Ultra Auroram et Gangen, recuerdo que dijo en latín, equivocando un verso de Juvenal). De las historias que esa noche contó, me atrevo a reconstruir la que sigue. Mi texto será fiel: líbreme Alá de la tentación de añadir breves rasgos circunstanciales o de agravar, con interpolaciones de Kipling, el cariz exótico del relato. Este, por lo demás, tiene un antiguo y simple sabor que sería una lástima perder, acaso el de las Mil y una Noches.
Bioy Casares brought back with him from London to Buenos Aires a strange dagger with a triangular blade and a hilt in the shape of an H; a friend of ours, Christopher Dewey of the British Council, told us that such weapons were commonly used in India. This statement prompted him to mention that he had held a job in that country between the two wars. (“Ultra Auroram et Gangen,” I recall his saying in Latin, misquoting a line from Juvenal.) Of the stories he entertained us with that night, I venture to set down the one that follows. My account will be faithful; may Allah deliver me from the temptation of adding any circumstantial details or of weighing down with interpolations from Kipling the tale’s Oriental character. It should be remarked that the story has a certain ancient simplicity that it would be a pity to lose—something perhaps straight out of the Arabian Nights.
Describing his rented house, Kinbote mentions a damask paperknife (described as "one ancient dagger brought by Mrs. Goldsworth's father from the Orient"):
Lines 47-48: the frame house between Goldsworth and Wordsmith
The first name refers to the house in Dulwich Road that I rented from Hugh Warren Goldsworth, authority on Roman Law and distinguished judge. I never had the pleasure of meeting my landlord but I came to know his handwriting almost as well as I do Shade's. The second name denotes, of course, Wordsmith University. In seeming to suggest a midway situation between the two places, our poet is less concerned with spatial exactitude than with a witty exchange of syllables invoking the two masters of the heroic couplet, between whom he embowers his own muse. Actually, the "frame house on its square of green" was five miles west of the Wordsmith campus but only fifty yards or so distant from my east windows.
In the Foreword to this work I have had occasion to say something about the amenities of my habitation. The charming, charmingly vague lady (see note to line 691), who secured it for me, sight unseen, meant well, no doubt, especially since it was widely admired in the neighborhood for its "old-world spaciousness and graciousness." Actually, it was an old, dismal, white-and-black, half-timbered house, of the type termed wodnaggen in my country, with carved gables, drafty bow windows and a so-called "semi-noble" porch, surmounted by a hideous veranda. Judge Goldsworth had a wife, and four daughters. Family photographs met me in the hallway and pursued me from room to room, and although I am sure that Alphina (9), Betty (10), Candida (12), and Dee (14) will soon change from horribly cute little schoolgirls to smart young ladies and superior mothers, I must confess that their pert pictures irritated me to such an extent that finally I gathered them one by one and dumped them all in a closet under the gallows row of their cellophane-shrouded winter clothes. In the study I found a large picture of their parents, with sexes reversed, Mrs. G. resembling Malenkov, and Mr. G. a Medusa-locked hag, and this I replaced by the reproduction of a beloved early Picasso: earth boy leading raincloud horse. I did not bother, though, to do much about the family books which were also all over the house - four sets of different Children's Encyclopedias, and a stolid grown-up one that ascended all the way from shelf to shelf along a flight of stairs to burst an appendix in the attic. Judging by the novels in Mrs. Goldsworth's boudoir, her intellectual interests were fully developed, going as they did from Amber to Zen. The head of this alphabetic family had a library too, but this consisted mainly of legal works and a lot of conspicuously lettered ledgers. All the layman could glean for instruction and entertainment was a morocco-bound album in which the judge had lovingly pasted the life histories and pictures of people he had sent to prison or condemned to death: unforgettable faces of imbecile hoodlums, last smokes and last grins, a strangler's quite ordinary-looking hands, a self-made widow, the close-set merciless eyes of a homicidal maniac (somewhat resembling, I admit, the late Jacques d'Argus), a bright little parricide aged seven ("Now, sonny, we want you to tell us -"), and a sad pudgy old pederast who had blown up his blackmailer. What rather surprised me was that he, my learned landlord, and not his "missus," directed the household. Not only had he left me a detailed inventory of all such articles as cluster around a new tenant like a mob of menacing natives, but he had taken stupendous pains to write out on slips of paper recommendations, explanations, injunctions and supplementary lists. Whatever I touched on the first day of my stay yielded a specimen of Goldsworthiana. I unlocked the medicine chest in the second bathroom, and out fluttered a message advising me that the slit for discarded safety blades was too full to use. I opened the icebox, and it warned me with a bark that "no national specialties with odors hard to get rid of" should be placed therein. I pulled out the middle drawer of the desk in the study - and discovered a catalogue raisonné of its meager contents which included an assortment of ashtrays, a damask paperknife (described as "one ancient dagger brought by Mrs. Goldsworth's father from the Orient"), and an old but unused pocket diary optimistically maturing there until its calendric correspondencies came around again. Among various detailed notices affixed to a special board in the pantry, such as plumbing instructions, dissertations on electricity, discourses on cactuses and so forth, I found the diet of the black cat that came with the house:
Mon, Wed, Fri: Liver
Tue, Thu, Sat: Fish
Sun: Ground meat
(All it got from me was milk and sardines; it was a likable little creature but after a while its movements began to grate on my nerves and I farmed it out to Mrs. Finley, the cleaning woman.) But perhaps the funniest note concerned the manipulations of the window curtains which had to be drawn in different ways at different hours to prevent the sun from getting at the upholstery. A description of the position of the sun, daily and seasonal, was given for the several windows, and if I had heeded all this I would have been kept as busy as a participant in a regatta. A footnote, however, generously suggested that instead of manning the curtains, I might prefer to shift and reshift out of sun range the more precious pieces of furniture (two embroidered armchairs and a heavy "royal console") but should do it carefully lest I scratch the wall moldings. I cannot, alas, reproduce the meticulous schedule of these transposals but seem to recall that I was supposed to castle the long way before going to bed and the short way first thing in the morning. My dear Shade roared with laughter when I led him on a tour of inspection and had him find some of those bunny eggs for himself. Thank God, his robust hilarity dissipated the atmosphere of damnum infectum in which I was supposed to dwell. On his part, he regaled me with a number of anecdotes concerning the judge's dry wit and courtroom mannerisms; most of these anecdotes were doubtless folklore exaggerations, a few were evident inventions, and all were harmless. He did not bring up, my sweet old friend never did, ridiculous stories about the terrifying shadows that Judge Goldsworth's gown threw across the underworld, or about this or that beast lying in prison and positively dying of raghdirst (thirst for revenge) - crass banalities circulated by the scurrilous and the heartless - by all those for whom romance, remoteness, sealskin-lined scarlet skies, the darkening dunes of a fabulous kingdom, simply do not exist. But enough of this. Let us turn to our poet's windows. I have no desire to twist and batter an unambiguous apparatus criticus into the monstrous semblance of a novel.
Kinbote's landlord, Hugh Warren Goldsworth (who is on sabbatical in England) is an authority on Roman Law and distinguished judge. In J. L. Borges's story The Man on the Threshold David Alexander Glencairn is a cruel Scottish judge in India who was kidnapped, prosecuted and sentenced to death by the natives:
At my feet, motionless as an object, an old, old man squatted on the threshold. I’ll tell what he was like, for he is an essential part of the story. His many years had worn him down and polished him as smooth as water polishes a stone, or as the generations of men polish a sentence. Long rags covered him, or so it seemed to me, and the cloth he wore wound around his head was one rag more. In the dusk, he lifted a dark face and a white beard. I began speaking to him without preamble, for by now I had given up all hope of ever finding David Alexander Glencairn. The old man did not understand me (perhaps he did not hear me), and I had to explain that Glencairn was a judge and that I was looking for him. I felt, on speaking these words, the pointlessness of questioning this old man for whom the present was hardly more than a dim rumor. This man might give me news of the Mutiny or of Akbar (I thought) but not of Glencairn. What he told me confirmed this suspicion.
"AJudge!” he cried with weak surprise. “A judge who has got himself lost and is being searched for. That happened when I was a boy. I have no memory for dates, but Nikal Seyn (Nicholson) had not yet been killed before the wall of Delhi. Time that has passed stays on in memory; I may be able to summon back what happened then. God, in his wrath, had allowed people to fall into corruption; the mouths of men were full of blasphemy and of deceit and of fraud. Yet not all were evil, and when it was known that the queen was about to send a man who would carry out in this land the law of England, those who were less evil were cheered, for they felt that law is better than disorder. The Christian came to us but it was not long before he too began deceiving and oppressing us, in concealing abominable crimes, and in selling decisions. We did not blame him in the beginning; the English justice he administered was not familiar to anyone, and the apparent excesses of the new judge may have obeyed certain valid arcane reasoning. Everything must have a justification in his book, we wished to think, but his kinship with all evil judges the world over was too obvious to be overlooked, and at last we were forced to admit that he was simply a wicked man. He turned out to be a tyrant, and the unfortunate people (in order to avenge themselves for the false hopes they had once placed in him) began to toy with the idea of kidnapping him and submitting him to judgment. To talk was not enough; from plans they had to move to action. Nobody, perhaps, save the very foolish or the very young, believed that that rash scheme could be carried out, but thousands of Sikhs and Muslims kept their word and one day they executed—incredulous—what to each of them had seemed impossible. They sequestered the judge and held him prisoner in a farmhouse beyond the outskirts of the town. Then they called together all those who had been wronged by him, or, in some cases, orphans and widows, for during those years the executioner’s sword had not rested. In the end—this was perhaps the most difficult—they sought and named a judge to judge the judge.”
At this point, the old man was interrupted by some women who were entering the house. Then he went on, slowly.
“It is well known that there is no generation that does not include in it four upright men who are the secret pillars of the world and who justify it before the Lord: one of these men would have made the perfect judge. But where are they to be found if they themselves wander the world lost and nameless, and do not know each other when they meet, and are unaware of the high destiny that is theirs? Someone then reasoned that if fate forbade us wise men we should seek out the witless. This opinion prevailed. Students of the Koran, doctors of law, Sikhs who bear the name of lions and who worship one God, Hindus who worship a multitude of gods, Mahavira monks who teach that the shape of the universe is that of a man with his legs spread apart, worshippers of fire, and black Jews made up the court, but the final ruling was entrusted to a madman.”
The title of Borges's story brings to mind a bigger, more respectable, more competent Gradus who will presently ring at Kinbote's door:
"And you, what will you be doing with yourself, poor King, poor Kinbote?" a gentle young voice may inquire.
God will help me, I trust, to rid myself of any desire to follow the example of two other characters in this work. I shall continue to exist. I may assume other disguises, other forms, but I shall try to exist. I may turn up yet, on another campus, as an old, happy, healthy, heterosexual Russian, a writer in exile, sans fame, sans future, sans audience, sans anything but his art. I may join forces with Odon in a new motion picture: Escape from Zembla (ball in the palace, bomb in the palace square). I may pander to the simple tastes of theatrical critics and cook up a stage play, an old-fashioned Melodrama with three principals: a lunatic who intends to kill an imaginary king, another lunatic who imagines himself to be that king, and a distinguished old poet who stumbles by chance into the line of fire, and perishes in the clash between the two figments. Oh, I may do many things! History permitting, I may sail back to my recovered kingdom, and with a great sob greet the gray coastline and the gleam of a roof in the rain. I may huddle and groan in a madhouse. But whatever happens, wherever the scene is laid, somebody, somewhere, will quietly set out - somebody has already set out, somebody still rather far away is buying a ticket, is boarding a bus, a ship, a plane, has landed, is walking toward a million photographers, and presently he will ring at my door - a bigger, more respectable, more competent Gradus. (note to Line 1000)
Shade’s poem is almost finished when the author is killed by Gradus. Kinbote believes that, to be completed, Shade’s poem needs but one line (Line 1000, identical to Line 1: “I was the shadow of the waxwing slain”). But it seems that, like some sonnets, Shade's poem also needs a coda (Line 1001: “By its own double in the windowpane”). According to J. L. Borges, his story El Hombre en el Umbral has something straight out of Mil y una Noches ("A Thousand and One Nights").