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), writers should see the world, pluck its figs and peaches, and not keep constantly meditating in a tower of yellow ivory:
It is easy to sneer at Conmal's faults. They are the naive failings of a great pioneer. He lived too much in his library, too little among boys and youths. Writers should see the world, pluck its figs and peaches, and not keep constantly meditating in a tower of yellow ivory - which was also John Shade's mistake, in a way. (note to Line 962)
A tower of yellow ivory seems to be a chessman (a white rook). In VN's novel Ada (1969) Greg Erminin (Grace's twin brother) brings Ada a ‘talisman’ from his very sick father, who wanted Ada to treasure as much as his grandam had a little camel of yellow ivory carved in Kiev, five centuries ago, in the days of Timur and Nabok:
Ada had declined to invite anybody except the Erminin twins to her picnic; but she had had no intention of inviting the brother without the sister. The latter, it turned out, could not come, having gone to New Cranton to see a young drummer, her first boy friend, sail off into the sunrise with his regiment. But Greg had to be asked to come after all: on the previous day he had called on her bringing a ‘talisman’ from his very sick father, who wanted Ada to treasure as much as his grandam had a little camel of yellow ivory carved in Kiev, five centuries ago, in the days of Timur and Nabok. (1.39)
A little camel of yellow ivory carved in Kiev, five centuries ago, in the days of Timur and Nabok, is a chess piece (a white bishop). Describing his first collection of poetry, Fyodor Konstantinovich Godunov-Cherdyntsev, the narrator and main character in VN's novel Dar ("The Gift," 1937), mentions a chess set with camels instead of bishops:
Автору приходилось прятаться (речь теперь будет идти об особняке Годуновых-Чердынцевых на Английской Набережной, существующем и поныне) в портьерах, под столами, за спинными подушками шелковых оттоманок - и в платяном шкалу, где под ногами хрустел нафталин, и откуда можно было в щель незримо наблюдать за медленно проходившим слугой, становившимся до странности новым, одушевленным, вздыхающим, чайным, яблочным; а также
под лестницею винтовой
и за буфетом одиноким,
забытым в комнате пустой, - на пыльных полках которого прозябали: ожерелье из волчьих зубов, алматолитовый божок с голым пузом, другой фарфоровый, высовывающий в знак национального приветствия черный язык, шахматы с верблюдами вместо слонов, членистый деревянный дракон, сойотская табакерка из молочного стекла, другая агатовая, шаманский бубен, к нему заячья лапка, сапог из кожи маральих ног со стелькой из коры лазурной жимолости, тибетская мечевидная денежка, чашечка из кэрийского нефрита, серебряная брошка с бирюзой, лампада ламы, - и еще много тому подобного хлама, который - как пыль, как с немецких вод перламутровый Gruss - мой отец, не терпя этнографии, случайно привозил из своих баснословных путешествий. Зато запертые на ключ три залы, где находились его коллекции, его музей... но об этом в стихах перед нами нет ничего: особым чутьем молодой автор предвидел, что когда-нибудь ему придется говорить совсем иначе, не стихами с брелоками и репетицией, а совсем, совсем другими, мужественными словами о своем знаменитом отце.
The author had occasion to hide (we are now in the Godunov-Cherdyntsevs’ mansion on the English Quay of the Neva, where it stands even today) among draperies, under tables, behind the upright cushions of silk divans, in a wardrobe, where moth crystals crunched under one’s feet (and whence one could observe unseen a slowly passing manservant, who would seem strangely different, alive, ethereal, smelling of apples and tea) and also
Under a helical staircase,
Or behind a lonely buffet
Forgotten in a bare room
on whose dusty shelves vegetated such objects as: a necklace made of wolf’s teeth; a small bare-bellied idol of almatolite; another, of porcelain, its black tongue stuck out in national greeting; a chess set with camels instead of bishops; an articulated wooden dragon; a Soyot snuffbox of clouded glass; ditto, of agate; a shaman’s tambourine and the rabbit’s foot going with it; a boot of wapiti leather with an innersole made from the bark of the blue honeysuckle; an ensiform Tibetan coin; a cup of Kara jade; a silver brooch with turquoises; a lama’s lampad; and a lot of similar junk which—like dust, like the postcard from a German spa with its mother-of-pearl “Gruss”—my father, who could not stomach ethnography, somehow happened to bring back from his fabulous travels. The real treasures—his butterfly collection, his museum—were preserved in three locked halls; but the present book of poems contains nothing about that: a special intuition forewarned the young author that some day he would want to speak in quite another way, not in miniature verse with charms and chimes but in very, very different, manly words about his famous father. (Chapter One)
Fyodor Konstantinovich decides to write a book on Chernyshevski (a radical critic) after reading an article in the Soviet chess magazine 8 × 8:
А как-то через несколько дней ему под руку попался всё тот же шахматный журнальчик, он перелистал его, ища недостроенных мест, и, когда оказалось, что всё уже сделано, пробежал глазами отрывок в два столбца из юношеского дневника Чернышевского; пробежал, улыбнулся и стал сызнова читать с интересом. Забавно-обстоятельный слог, кропотливо вкрапленные наречия, страсть к точке с запятой, застревание мысли в предложении и неловкие попытки её оттуда извлечь (причём она сразу застревала в другом месте, и автору приходилось опять возиться с занозой), долбящий, бубнящий звук слов, ходом коня передвигающийся смысл в мелочном толковании своих мельчайших действий, прилипчивая нелепость этих действий (словно у человека руки были в столярном клее, и обе были левые), серьёзность, вялость, честность, бедность, -- всё это так понравилось Федору Константиновичу, его так поразило и развеселило допущение, что автор, с таким умственным и словесным стилем, мог как-либо повлиять на литературную судьбу России, что на другое же утро он выписал себе в государственной библиотеке полное собрание сочинений Чернышевского. По мере того, как он читал, удивление его росло, и в этом чувств е было своего рода блаженство.
But a few days later he happened to come across that same copy of 8 × 8; he leafed through it, looking for unfinished bits, and when all the problems turned out to be solved, he ran his eyes over the two-column extract from Chernyshevski’s youthful diary; he glanced through it, smiled, and began to read it over with interest. The drolly circumstantial style, the meticulously inserted adverbs, the passion for semicolons, the bogging down of thought in midsentence and the clumsy attempts to extricate it (whereupon it got stuck at once elsewhere, and the author had to start worrying it out all over again), the drubbing-in, rubbing-in tone of each word, the knight-moves of sense in the trivial commentary on his minutest actions, the viscid ineptitude of these actions (as if some workshop glue had got onto the man’s hands, and both were left), the seriousness, the limpness, the honesty, the poverty-all this pleased Fyodor so much, he was so amazed and tickled by the fact that an author with such a mental and verbal style was considered to have influenced the literary destiny of Russia, that on the very next morning he signed out the complete works of Chernyshevski from the state library. And as he read, his astonishment grew, and this feeling contained a peculiar kind of bliss. (Chapter Three)
According to Fyodor Konstantinovich, Chernyshevski called a rook pushka (a castle; pushka is Russian for "cannon"):
Чернышевский приходил, садился за столик и пристукивая ладьей (которую называл "пушкой"), рассказывал невинные анекдоты. Приходил Серно-Соловьевич (тургеневское тире) и в уединённом углу заводил с кем-нибудь беседу. Было довольно пусто. Пьющая братия -- Помяловский, Курочкин, Кроль -- горланила в буфете. Первый, впрочем, кое-что проповедовал и своё: идею общинного литературного труда, -- организовать, мол, общество писателей-труженников для исследования разных сторон нашего общественного быта, как то: нищие, мелочные лавки, фонарщики, пожарные -- и все добытые сведения помещать в особом журнале. Чернышевский его высмеял, и пошёл вздорный слух, что Помяловский "бил ему морду". "Это враньё, я слишком вас уважаю для этого",-- писал к нему Помяловский.
Chernyshevski would come and sit at a table, tapping upon it with a rook (which he called a “castle”), and relate innocuous anecdotes. The radical Serno—Solovievich would arrive—(this is a Turgenevian dash) and strike up a conversation with someone in a secluded corner. It was fairly empty. The drinking fraternity—the minor writers Pomyalovski, Kurochkin, Krol—would vociferate in the bar. The first, by the way, did a little preaching of his own, promoting the idea of communal literary work—“Let’s organize,” he said, “a society of writer-laborers for investigating various aspects of our social life, such as: beggars, haberdashers, lamplighters, firemen—and pool in a special magazine all the material we get.” Chernyshevski derided him and a silly rumor went around to the effect that Pomyalovski had “bashed his mug in.” “It’s all lies, I respect you too much for that,” wrote Pomyalovski to him. (Chapter Four)
Describing his work on Zhizn' Chernyshevskogo ("The Life of Chernyshevski"), Fyodor Konstantinovich mentions Tamerlane (aka Timur, 1336-1405, a Turco-Mongol conqueror who founded the Timurid Empire in and around modern-day Afghanistan, Iran, and Central Asia):
Он живо чувствовал некий государственный обман в действиях "Царя-Освободителя", которому вся эта история с дарованием свобод очень скоро надоела; царская скука и была главным оттенком реакции. После манифеста, стреляли в народ на станции Бездна, - и эпиграмматическую жилку в Федоре Константиновиче щекотал бесвкусный соблазн, дальнейшую судьбу правительственной России рассматривать, как перегон между станциями Бездна и Дно.
Постепенно, от всех этих набегов на прошлое русской мысли, в нем развивалась новая, менее пейзажная, чем раньше, тоска по России, опасное желание (с которым успешно боролся), в чем-то ей признаться, и в чем-то ее убедить. И, нагромождая знания, извлекая из этой горы свое готовое творение, он еще кое что вспоминал: кучу камней на азиатском перевале, - шли в поход, клали по камню, шли назад, по камню снимали, а то, что осталось навеки - счет падшим в бою. Так в куче камней Тамерлан провидел памятник.
He clearly sensed a deception on a governmental scale in the actions of the “Tsar-Liberator,” who very soon got bored with all this business of granting freedoms; for it was the Tsar’s boredom that gave the chief hue to reaction. After the manifesto the police fired into the people at the station of Bezdna—and Fyodor’s epigrammatic vein was tickled by the tasteless temptation to regard the further fate of Russia’s rulers as the run between the stations Bezdna (Bottomless) and Dno (Bottom).
Gradually, as a result of all these raids on the past of Russian thought, he developed a new yearning for Russia that was less physical than before, a dangerous desire (with which he successfully struggled) to confess something to her and to convince her of something. And while piling up knowledge, while extracting his finished creation out of this mountain, he remembered something else: a pile of stones on an Asian pass; warriors going on a campaign each placed a stone there; on the way back each took a stone from the pile; that which was left represented forever the number of those fallen in battle. Thus in a pile of stones Tamerlane foresaw a monument. (Chapter Three)
At the end of his poem “The Nature of Electricity” quoted by Kinbote in his Commentary Shade mentions "the torments of a Tamerlane, the roar of tyrants torn in hell:"
The light never came back but it gleams again in a short poem "The Nature of Electricity", which John Shade had sent to the New York magazine The Beau and the Butterfly, some time in 1958, but which appeared only after his death:
The dead, the gentle dead - who knows?
In tungsten filaments abide,
And on my bedside table flows
Another man's departed bride.
And maybe Shakespeare floods a whole
Town with innumerable lights,
And Shelley's incandescent soul
Lures the pale moths of starless nights.
Streetlamps are numbered; and maybe
Number nine-hundred-ninety-nine
(So brightly beaming through a tree
So green) is an old friend of mine.
And when above the livid plain
Forked lightning plays, therein may dwell
The torments of a Tamerlane,
The roar of tyrants torn in hell.
Science tells us, by the way, that the Earth would not merely fall apart, but vanish like a ghost, if Electricity were suddenly removed from the world. (note to Line 347)
On Demonia (aka Antiterra, Earth's twin planet on which Ada is set) electricity (the unmentionable magnetic power) was banned after the L disaster in the beau milieu of the 19th century. Chronologically, the Antiterran L disaster seems to correspond to the mock execution of Dostoevski and the Petrashevskians on Jan. 3, 1850 (NS), in our world. In Chapter Five of “The Gift” Fyodor Konstantinovich compares Dostoevski to a room in which a lamp burns during the day:
Фёдор Константинович собрался было восвояси, когда его сзади окликнул шепелявый голос: он принадлежал Ширину, автору романа "Седина" (с эпиграфом из книги Иова), очень сочувственно встреченного эмигрантской критикой. ("Господи, отче -- --? По Бродвею, в лихорадочном шорохе долларов, гетеры и дельцы в гетрах, дерясь, падая, задыхаясь, бежали за золотым тельцом, который, шуршащими боками протискиваясь между небоскребами, обращал к электрическому небу изможденный лик свой и выл. В Париже, в низкопробном притоне, старик Лашез, бывший пионер авиации, а ныне дряхлый бродяга, топтал сапогами старуху-проститутку Буль-де-Сюиф. Господи отчего -- --? Из московского подвала вышел палач и, присев у конуры, стал тюлюкать мохнатого щенка: Махонький, приговаривал он, махонький... В Лондоне лорды и лэди танцевали джими и распивали коктейль, изредка посматривая на эстраду, где на исходе восемнадцатого ринга огромный негр кнок-оутом уложил на ковер своего белокурого противника. В арктических снегах, на пустом ящике из-под мыла, сидел путешественник Эриксен и мрачно думал: Полюс или не полюс?.. Иван Червяков бережно обстригал бахрому единственных брюк. Господи, отчего Вы дозволяете все это?"). Сам Ширин был плотный, коренастый человек, с рыжеватым бобриком, всегда плохо выбритый, в больших очках, за которыми, как в двух аквариумах, плавали два маленьких, прозрачных глаза, совершенно равнодушных к зрительным впечатлениям. Он был слеп как Мильтон, глух как Бетховен, и глуп как бетон. Святая ненаблюдательность (а отсюда – полная неосведомленность об окружающем мире -- и полная неспособность что-либо именовать) -- свойство, почему-то довольно часто встречающееся у русского литератора-середняка, словно тут действует некий благотворный рок, отказывающий безталанному в благодати чувственного познания, дабы он зря не изгадил материала. Бывает, конечно, что в таком темном человеке играет какой-то собственный фонарик, -- не говоря о том, что известны случаи, когда по прихоти находчивой природы, любящей неожиданные приспособления и подмены, такой внутренний свет поразительно ярок -- на зависть любому краснощекому таланту. Но даже Достоевский всегда как-то напоминает комнату, в которой днём горит лампа.
Fyodor was about to walk home when a lisping voice called him from behind: it belonged to Shirin, author of the novel The Hoary Abyss (with an Epigraph from the Book of Job) which had been received very sympathetically by the émigré critics. (“Oh Lord, our Father! Down Broadway in a feverish rustle of dollars, hetaeras and businessmen in spats, shoving, falling and out of breath, were running after the golden calf, which pushed its way, rubbing against walls between the skyscrapers, then turned its emaciated face to the electric sky and howled. In Paris, in a low-class dive, the old man Lachaise, who had once been an aviation pioneer but was now a decrepit vagabond, trampled under his boots an ancient prostitute, Boule de Suif. Oh Lord, why—? Out of a Moscow basement a killer came out, squatted by a kennel and began to coax a shaggy pup: little one, he repeated, little one… In London, lords and ladies danced the Jimmie and imbibed cocktails, glancing from time to time at a platform where at the end of the eighteenth ring a huge Negro had laid his fair-haired opponent on the carpet with a knockout. Amid arctic snows the explorer Ericson sat on an empty soapbox and thought gloomily: The pole or not the pole?… Ivan Chervyakov carefully trimmed the fringe of his only pair of pants. Oh Lord, why dost Thou permit all this?”) Shirin himself was a thickset man with a reddish crew cut, always badly shaved and wearing large spectacles behind which, as in two aquariums, swam two tiny, transparent eyes—which were completely impervious to visual impressions. He was blind like Milton, deaf like Beethoven, and a blockhead to boot. A blissful incapacity for observation (and hence complete uninformedness about the surrounding world—and a complete inability to put a name to anything) is a quality quite frequently met with among the average Russian literati, as if a beneficent fate were at work refusing the blessing of sensory cognition to the untalented so that they will not wantonly mess up the material. It happens, of course, that such a benighted person has some little lamp of his own glimmering inside him—not to speak of those known instances in which, through the caprice of resourceful nature that loves startling adjustments and substitutions, such an inner light is astonishingly bright—enough to make the envy of the ruddiest talent. But even Dostoevski always brings to mind somehow a room in which a lamp burns during the day.
“An Epigraph from the Book of Job” brings to mind Lev Shestov’s book Na vesakh Iova (“In Job’s Balances,” 1929). Shestov is the author of Potestas clavium. Vlast’ klyuchey (“Power of the Keys,” 1923). The keys play an important part in “The Gift.” In Tysyacha i odna noch’ (“A Thousand and One Nights”), a Preface to Potestas clavium, Shestov says that mankind is plunged into a perpetual night – even in a thousand and one nights:
Человечество живёт не в свете, а во тьме, окутанное одною непрерывною ночью. Нет, не одной, и не двумя, и не десятью - а тысячью и одной ночью!
Mankind does not live in the light but in the bosom of darkness; it is plunged into a perpetual night. No! Not in one or two or ten but in a thousand and one nights! (4)
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”). Dvoynik ("The Double," 1846) is a short novel by Dostoevski.
In his poem The Sphinx Oscar Wilde mentions the sphinx's curving claws of yellow ivory:
And let me touch those curving claws Of yellow ivory and grasp
The tail that like a monstrous Asp coils round your heavy velvet paws!
In a letter to Lord Alfred Douglas (Bosie) Wilde mentions the tower of ivory:
"I don't see anything now but a criminal prosecution. My whole life seems ruined by this man [the Marquess of Queensberry, Bosie's father]. The tower of ivory is assailed by the foul thing. On the sand is my life split. I don't know what to do."
After Wilde's release from prison André Gide asked him if he has read Dostoevski's Zapiski iz myortvogo doma ("The House of the Dead," 1860-62):
I wished to induce Wilde to talk more seriously. I sit down again, and ask him, somewhat timidly, if he has read the "The House of the Dead."
He does not reply directly. "These Russian writers are extraordinary; what makes their books so great is the pity they put into them. Formerly I adored 'Madame Bovarie'; but Flaubert would have no pity in his books, and the air in them is close; pity is the open door through which a book can shine eternally. . . Do you know, it was pity that kept me from suicide. For the first six months I was so dreadfully unhappy that I longed to kill myself— but I saw the others. I saw their unhappiness; it was my pity for them that saved me. Oh, the wonder of pity! And once I did not know pity." He said this quite softly and without any exaltation. "Do you know how wonderful pity is?" (In Memoriam Oscar Wilde, 1905)
According to André Gide, Wilde told him: "I put all my genius into my life; I put only my talent into my works."
In his poem In the Forest Oscar Wilde mentions his ivory limbed and brown-eyed Faun:
Out of the mid-wood's twilight
Into the meadow's dawn,
Ivory limbed and brown-eyed,
Flashes my Faun!
He skips through the copses singing,
And his shadow dances along,
And I know not which I should follow,
Shadow or song!
O Hunter, snare me his shadow!
O Nightingale, catch me his strain!
Else moonstruck with music and madness
I track him in vain!
Wilde's Faun brings to mind Jane de Faun, a lady novelist in ten volumes mentioned by Kinbote:
We should not forget that when Conmal began his stupendous task no English author was available in Zemblan except Jane de Faun, a lady novelist in ten volumes whose works, strangely enough, are unknown in England, and some fragments of Byron translated from French versions. (note to Line 962)
At the end of Canto Three of his poem Shade mentions ivory unicorns and ebon fauns (chess pieces):
It did not matter who they were. No sound,
No furtive light came from their involute
Abode, but there they were, aloof and mute,
Playing a game of worlds, promoting pawns
To ivory unicorns and ebon fauns;
Kindling a long life here, extinguishing
A short one there; killing a Balkan king;
Causing a chunk of ice formed on a high
Flying airplane to plummet from the sky
And strike a farmer dead; hiding my keys,
Glasses or pipe. Coordinating these
Events and objects with remote events
And vanished objects. Making ornaments
Of accidents and possibilities. (ll. 816-829)