Subject
Two Early PF Newspaper Items
From
Date
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Dear All,
Having applied my mind to the problem, let me provide a closely-reasoned
and succinct solution:
Old McNab used that particular noun, "pond" -- because he needed a rhyme
for "blond".
Hugs and kisses,
Tom (Rymour)
PS: I challenge anyone to form an anagram from either word.
> Matt Roth [responding to: Gary Lipon [ to Jansy's "Why a pastiche of
> Hazel's tragedy, along with other sad tales? Why Hazel, in
> particular..."] I'm honestly quite surprised, if I understand you
> correctly, that you don't see allusions to Hazel's story in this
> sequence? JM: No! At least, not from this sequence...] I'm firmly with
> Gary on this one. As I think I said before, it is unimaginable to think
> that Shade could concoct a young dead woman--who died on a "wild march
> night"--standing by the edge of a pond, without having Hazel in mind.
> Recall that Hazel died by drowning, probably in March, on a "night of
> blow," and later on in Canto Three, while clearly thinking of Hazel's
> death, Shade writes, "It is the wild / March wind. It is the father with
> his child." My Mathilda association is pretty speculative, while this
> connection, right there in the text, seems ironclad to me.
>
> JM: I almost gave up my retort, humbled by my blindness about anything
> as obvious, like both Lipon and Roth find it to be, in Shade's lines
> related to Hazel.
> A "wild March wind" seems to be the only real link to the night when
> Hazel was swamped. And not even this one convinces me. Nor the parent's
> worrying about a twenty-three year old daughter (23 if I remember former
> calculations) out after midnight on her first (?) blind-date, lest their
> protectiveness is revelatory of Hazel's mental disturbances.
> Lipon's analogies* remain a puzzle. Pond= swamp?
> A pond's reflective surface "full of a dreamy sky"...indicate a wild
> March windy night? I simply don't get it.
> Hazel as Shade's dream-wife? Oh, please...
> What has been written about Hazel as "Mother Time" and the watchman by
> the lake described as "Father Time"?
>
> In Zembla we find Nabokov's Pale Fire and the Romantic Movement (with
> special reference to the Brocken, Scott and Goethe) by Gerard de Vries
> when he quotes: "It is only Lochanhead...must think it....queer/ To stop
> without a farmhouse near/ Between the woods and frozen lake/ The darkest
> evening of the year." and he adds that these are "lines borrowed from
> the second stanza of Robert Frost's "Stopping by Woods on a Snowing
> Evening," a poem alluded to in Pale Fire."
> This reference complicates matters even further: Why use Frost's lines
> on "the darkest evening of the year," in relation to Hazel's stop at
> Lochanhead? Why skip Shade's disbelief in IPH's revelations and try to
> evaluate his own non-Oedipic fantasies for what's worth?
>
>
>
>
>
>
> * -He meets his wives; both loved, both loving, both
> Jealous of one another. [1:Shade, Sybil & Hazel]
> Fondling a changeless child, the flax-haired wife
> Grieves on the brink of a remembered pond
> Full of a dreamy sky. [2:Sybil & Hazel, pond=swamp]
> Know of the head-on crash which on a wild
> March night killed both the mother and the child?
> [5:Pete Dean, Sybil and Hazel]
> .....................................
> Know of the head-on crash which on a wild
> March night killed both the mother and the child?
> [5:Pete Dean, Sybil and Hazel]
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Having applied my mind to the problem, let me provide a closely-reasoned
and succinct solution:
Old McNab used that particular noun, "pond" -- because he needed a rhyme
for "blond".
Hugs and kisses,
Tom (Rymour)
PS: I challenge anyone to form an anagram from either word.
> Matt Roth [responding to: Gary Lipon [ to Jansy's "Why a pastiche of
> Hazel's tragedy, along with other sad tales? Why Hazel, in
> particular..."] I'm honestly quite surprised, if I understand you
> correctly, that you don't see allusions to Hazel's story in this
> sequence? JM: No! At least, not from this sequence...] I'm firmly with
> Gary on this one. As I think I said before, it is unimaginable to think
> that Shade could concoct a young dead woman--who died on a "wild march
> night"--standing by the edge of a pond, without having Hazel in mind.
> Recall that Hazel died by drowning, probably in March, on a "night of
> blow," and later on in Canto Three, while clearly thinking of Hazel's
> death, Shade writes, "It is the wild / March wind. It is the father with
> his child." My Mathilda association is pretty speculative, while this
> connection, right there in the text, seems ironclad to me.
>
> JM: I almost gave up my retort, humbled by my blindness about anything
> as obvious, like both Lipon and Roth find it to be, in Shade's lines
> related to Hazel.
> A "wild March wind" seems to be the only real link to the night when
> Hazel was swamped. And not even this one convinces me. Nor the parent's
> worrying about a twenty-three year old daughter (23 if I remember former
> calculations) out after midnight on her first (?) blind-date, lest their
> protectiveness is revelatory of Hazel's mental disturbances.
> Lipon's analogies* remain a puzzle. Pond= swamp?
> A pond's reflective surface "full of a dreamy sky"...indicate a wild
> March windy night? I simply don't get it.
> Hazel as Shade's dream-wife? Oh, please...
> What has been written about Hazel as "Mother Time" and the watchman by
> the lake described as "Father Time"?
>
> In Zembla we find Nabokov's Pale Fire and the Romantic Movement (with
> special reference to the Brocken, Scott and Goethe) by Gerard de Vries
> when he quotes: "It is only Lochanhead...must think it....queer/ To stop
> without a farmhouse near/ Between the woods and frozen lake/ The darkest
> evening of the year." and he adds that these are "lines borrowed from
> the second stanza of Robert Frost's "Stopping by Woods on a Snowing
> Evening," a poem alluded to in Pale Fire."
> This reference complicates matters even further: Why use Frost's lines
> on "the darkest evening of the year," in relation to Hazel's stop at
> Lochanhead? Why skip Shade's disbelief in IPH's revelations and try to
> evaluate his own non-Oedipic fantasies for what's worth?
>
>
>
>
>
>
> * -He meets his wives; both loved, both loving, both
> Jealous of one another. [1:Shade, Sybil & Hazel]
> Fondling a changeless child, the flax-haired wife
> Grieves on the brink of a remembered pond
> Full of a dreamy sky. [2:Sybil & Hazel, pond=swamp]
> Know of the head-on crash which on a wild
> March night killed both the mother and the child?
> [5:Pete Dean, Sybil and Hazel]
> .....................................
> Know of the head-on crash which on a wild
> March night killed both the mother and the child?
> [5:Pete Dean, Sybil and Hazel]
Search archive with Google:
http://www.google.com/advanced_search?q=site:listserv.ucsb.edu&HL=en
Contact the Editors: mailto:nabokv-l@utk.edu,nabokv-l@holycross.edu
Visit Zembla: http://www.libraries.psu.edu/nabokov/zembla.htm
View Nabokv-L policies: http://web.utk.edu/~sblackwe/EDNote.htm
Visit "Nabokov Online Journal:" http://www.nabokovonline.com
Manage subscription options: http://listserv.ucsb.edu/