In his commentary to Shade’s poem 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) quotes Arnor’s poem about a miragarl (mirage girl), for whose "careful jewels" a dream king in the sandy wastes of time would give tri stana verbalala (three hundred camels) ut tri phantana (and three fountains):
Our Prince was fond of Fleur as of a sister but with no soft shadow of incest or secondary homosexual complications. She had a small pale face with prominent cheekbones, luminous eyes, and curly dark hair. It was rumored that after going about with a porcelain cup and Cinderella's slipper for months, the society sculptor and poet Arnor had found in her what he sought and had used her breasts and feet for his Lilith Calling Back Adam; but I am certainly no expert in these tender matters. Otar, her lover, said that when you walked behind her, and she knew you were walking behind her, the swing and play of those slim haunches was something intensely artistic, something Arab girls were taught in special schools by special Parisian panders who were afterwards strangled. Her fragile ankles, he said, which she placed very close together in her dainty and wavy walk, were the "careful jewels" in Arnor's poem about a miragarl ("mirage girl"), for which "a dream king in the sandy wastes of time would give three hundred camels and three fountains."
On ságaren werém tremkín tri stána
Verbálala wod gév ut trí phantána
(I have marked the stress accents).
The Prince did not heed this rather kitschy prattle (all, probably, directed by her mother) and, let it be repeated, regarded her merely as a sibling, fragrant and fashionable, with a painted pout and a maussade, blurry, Gallic way of expressing the little she wished to express. Her unruffled rudeness toward the nervous and garrulous Countess amused him. He liked dancing with her - and only with her. He hardly squirmed at all when she stroked his hand or applied herself soundlessly with open lips to his cheek which the haggard after-the-ball dawn had already sooted. She did not seem to mind when he abandoned her for manlier pleasures; and she met him again in the dark of a car or in the half-glow of a cabaret with the subdued and ambiguous smile of a kissing cousin. (note to Line 80)
Tri stana means in Zemblan "three hundred" (trista is Russian for "three hundred"), but it also seems to hint at the medieval legend about a tragic and forbidden love between the Cornish knight Tristan and the Irish princess Isolde (Iseult). At the end of Somerset Maugham's story The Voice of the Turtle (1935), La Falterona sings Isolde's death song (Liebestod, "love-death"), the final aria from Richard Wagner's musical drama Tristan und Isolde (1865):
There was no reply, but in a moment Miss Glaser began to play the opening bars of one of Schumann's songs. It was no strain on the voice, and I guessed that Miss Glaser knew what she was doing when she chose it. La Falterona began to sing, in an undertone, but as she heard the sounds come from her lips and found that they were clear and pure she let herself go. The song finished. There was silence. Miss Glaser had heard that La Falterona was in magnificent voice, and she sensed that she wished to sing again. The prima donna was standing in the window, with her back to the lighted room, and she looked out at the darkly shining sea. The cedar made a lovely pattern against the sky. The night was soft and balmy. Miss Glaser played a couple of bars. A cold shiver ran down my spine. La Falterona gave a little start as she recognised the music, and I felt her gather herself together.
Mild und leise wie er lächelt,
Wie das Auge er öffnet
It was Isolde's death song. She had never sung in Wagner, fearing the strain on her voice, but this, I suppose, she had often sung in concerts. It did not matter now that instead of an orchestral accompaniment she had only the thin tinkle of a piano. The notes of the heavenly melody fell upon the still air and travelled over the water. In that too romantic scene, in that starry night, the effect was shattering. La Falterona's voice, even now, was exquisite in its quality, mellow and crystalline; and she sang with wonderful emotion, so tenderly, with such tragic, beautiful anguish that my heart melted within me. I had a most awkward lump in my throat when she finished, and looking at her I saw that tears were streaming down her face. I did not want to speak. She stood quite still looking out at that ageless sea.
What a strange woman! I thought then that I would sooner have her as she was, with her monstrous faults, than as Peter Melrose saw her, a pattern of all the virtues. But then people blame me because I rather like people who are a little worse than is reasonable. She was hateful, of course, but she was irresistible.
In the garden of La Falterona's Riviera villa there is a beautiful cedar. Describing his insomnias, Kinbote (who claims that he is writing his commentary, index and foreword to Shade's poem in Cedarn, Utana) mentions a Wagner record:
The Goldsworth château had many outside doors, and no matter how thoroughly I inspected them and the window shutters downstairs at bedtime, I never failed to discover next morning something unlocked, unlatched, a little loose, a little ajar, something sly and suspicious-looking. One night the black cat, which a few minutes before I had seen rippling down into the basement where I had arranged toilet facilities for it in an attractive setting, suddenly reappeared on the threshold of the music room, in the middle of my insomnia and a Wagner record, arching its back and sporting a neck bow of white silk which it could certainly never have put on all by itself. I telephoned 11111 and a few minutes later was discussing possible culprits with a policeman who relished greatly my cherry cordial, but whoever had broken in had left no trace. It is so easy for a cruel person to make the victim of his ingenuity believe that he has persecution mania, or is really being stalked by a killer, or is suffering from hallucinations. Hallucinations! Well did I know that among certain youthful instructors whose advances I had rejected there was at least one evil practical joker; I knew it ever since the time I came home from a very enjoyable and successful meeting of students and teachers (at which I had exuberantly thrown off my coat and shown several willing pupils a few of the amusing holds employed by Zemblan wrestlers) and found in my coat pocket a brutal anonymous note saying: "You have hal..... s real bad, chum," meaning evidently "hallucinations," although a malevolent critic might infer from the insufficient number of dashes that little Mr. Anon, despite teaching Freshman English, could hardly spell. (note to Line 62)
Professor Kinbote is the author of a remarkable book on surnames. Glaser (in Somerset Maugham's story, Miss Glaser is La Falterona's servant and accompanist) is an occupational name for a glass blower or glazier. Shade's murderer, Gradus never became a real success in the glass business:
Gradus never became a real success in the glass business to which he turned again and again between his wine-selling and pamphlet-printing jobs. He started as a maker of Cartesian devils - imps of bottle glass bobbing up and down in methylate-filled tubes hawked during Catkin Week on the boulevards. He also worked as teazer, and later as flasher, at governmental factories – and was, I believe, more or less responsible for the remarkably ugly red-and-amber windows in the great public lavatory at rowdy but colorful Kalixhaven where the sailors are. He claimed to have improved the glitter and rattle of the so-called feuilles-d'alarme used by grape growers and orchardmen to scare the birds. I have staggered the notes referring to him in such a fashion that the first (see note to line 17 where some of his other activities are adumbrated) is the vaguest while those that follow become gradually clearer as gradual Gradus approaches in space and time. (note to Line 171)
As many old glaziers, Gradus (the name means in Russian "degree") could deduce rather accurately water temperature from certain indices of brilliancy and motion:
Gradus, as he drove back to Geneva, wondered when he would be able to use it, that gun. The afternoon was unbearably hot. The lake had developed a scaling of silver and a touch of reflected thunderhead. As many old glaziers, he could deduce rather accurately water temperature from certain indices of brilliancy and motion, and now judged it to be at least 23°. As soon as he got back to his hotel he made a long- distance call to headquarters. It proved a terrible experience. Under the assumption that it would attract less attention than a BIC language, the conspirators conducted telephone conversations in English - broken English, to be exact, with one tense, no articles, and two pronunciations, both wrong. Furthermore, by their following the crafty system (invented in the chief BIC country) of using two different sets of code words - headquarters, for instance, saying "bureau" for "king," and Gradus saying "letter," they enormously increased the difficulty of communication. Each side, finally, had forgotten the meaning of certain phrases pertaining to the other's vocabulary so that in result, their tangled and expensive talk combined charades with an obstacle race in the dark. Headquarters thought it understood that letters from the King divulging his whereabouts could be obtained by breaking into Villa Disa and rifling the Queen's bureau; Gradus, who had said nothing of the sort, but had merely tried to convey the results of his Lex visit, was chagrined to learn that instead of looking for the King in Nice he was expected to wait for a consignment of canned salmon in Geneva. One thing, though, came out clearly: next time he should not telephone, but wire or write. (note to Line 469)
In Somerset Maugham's story, the narrator, in reply to a letter from Peter Melrose (a young aspiring writer), sends Melrose a wire, asking him to come and stay at his Riviera villa:
We separated, and a week or two later I went home. This was in May. Early in June I received a letter from Peter Melrose asking, if I had really meant what I said when I invited him to spend a few days with me, whether he might arrive on such and such a date. Well, at the time I had meant it, but now, a month later, I remembered that he was an arrogant and ill-bred youth, whom I had seen but twice and wasn't in the least interested in, and I didn't mean it any longer. It seemed to me very likely that he would be bored stiff. I lived a very quiet life and saw few people. And I thought it would be a great strain on my nerves if he were as rude as I knew he could be, and I as his host felt it behoved me to keep my temper. I saw myself driven beyond endurance, and ringing the bell to have his clothes packed and the car brought round to take him away within half an hour. But there was nothing to do about it. It would save him the cost of board and lodging to spend a short period with me, and if he was tired and unhappy as he said in his letter it might be that it would do him good. I sent him a wire and shortly afterwards he arrived.
A miragarl (mirage girl) in Arnor's poem brings to mind Somerset Maugham’s short story Mirage (originally part of Maugham's 1930 travel book The Gentleman in the Parlour) that tells the tragic tale of George Grosely, a man whose life was ruined by an idealized, unattainable dream of youth. Verbalala (camels in Zemblan) hints at verblyud (Russian for camel). The Camel's Back (1923) is a comedy play (three-act farce about London life) by Somerset Maugham.