Vladimir Nabokov

Onegin & Princess X in Russian Lolita

By Alexey Sklyarenko, 8 March, 2022

In the Russian version (1967) of VN’s novel Lolita (1955) Gumbert Gumbert (Humbert Humbert in Russian spelling) mentions Princess X who will never go to Italy with Onegin:

 

Я часто замечал, что мы склонны наделять наших друзей той устойчивостью свойств и судьбы, которую приобретают литературные герои в уме у читателя. Сколько бы раз мы ни открыли "Короля Лира", никогда мы не застанем доброго старца забывшим все горести и подымавшим заздравную чашу на большом семейном пиру со всеми тремя дочерьми и их комнатными собачками. Никогда не уедет с Онегиным в Италию княгиня Х. Никогда не поправится Эмма Бовари, спасенная симпатическими солями в своевременной слезе отца автора. Через какую бы эволюцию тот или другой известный персонаж ни прошел между эпиграфом и концом книги, его судьба установлена в наших мыслях о нем; и точно так же мы ожидаем, чтобы наши приятели следовали той или другой логической и общепринятой программе, нами для них предначертанной. Так, Икс никогда не сочинит того бессмертного музыкального произведения, которое так резко противоречило бы посредственным симфониям, к которым он нас приучил. Игрек никогда не совершит убийства. Ни при каких обстоятельствах Зет нас не предаст. У нас все это распределено по графам, и чем реже мы видаемся с данным лицом, тем приятнее убеждаться, при всяком упоминании о нем, в том, как послушно он подчиняется нашему представлению о нем. Всякое отклонение от выработанных нами судеб кажется нам не только ненормальным, но и нечестным. Мы бы предпочли никогда прежде не знать соседа - отставного торговца сосисками, - если бы оказалось, что он только что выпустил сборник стихов, не превзойденных никем в этом веке.

 

I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader’s mind. No matter how many times we reopen “King Lear,” never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert’s father’s timely tear. Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them. Thus X will never compose the immortal music that would clash with the second-rate symphonies he has accustomed us to. Y will never commit murder. Under no circumstances can Z ever betray us. We have it all arranged in our minds, and the less often we see a particular person the more satisfying it is to check how obediently he conforms to our notion of him every time we hear of him. Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. We would prefer not to have known at all our neighbor, the retired hot-dog stand operator, if it turns out he has just produced the greatest book of poetry his age has seen. (2.27)

 

In Pushkin’s novel in verse Eugene Onegin Tatiana Larin marries Prince N (who becomes Prince Gremin in Tchaikovsky’s opera). In his book Vospominaniya o Rossii (“Reminiscences of Russia,” 1959) Leonid Sabaneyev (a music critic) says that Modest Tchaikovsky (the composer’s brother and author of the preposterous libretto) wanted to “touch up” Eugene Onegin by attaching a happy opera ending with Tatiana’s escape into Onegin’s arms (but this crime was prevented by the intervention of the Davydov family):

 

Пушкин был бесспорно одним из культурнейших людей своего времени (не только в России) — Глинка был в существе своем человеком малокультурным, типичным интуитом, гениально одаренным в музыке, но лишенным кругозора. Кроме музыки и своих «нянек» он ничем не интересовался — об уровне его литературных вкусов свидетельствует либретто «Жизни за царя» и та невероятная каша и неразбериха, которую он увековечил под именем «Руслан и Людмила». С этим нелепым искажением легкой и воздушной, игровой поэмы Пушкина могла поспорить только та косметическая операция, которой подверглась пушкинская «Пиковая дама» в обработке М. Чайковского (как известно, неугомонный Модест хотел «подрумянить» и «Евгения Онегина», приделав счастливый оперный конец с бегством Татьяны в объятия Онегина. Но это преступление было предотвращено вмешательством семьи Давыдовых).

 

In a letter of Nov. 7, 1888, to Suvorin Chekhov (a friend of Tchaikovsky and his brother) says that, listening to the opera “Eugene Onegin,” the public weeps when Tatiana writes her letter:

 

В скверности наших театров виновата не публика. Публика всегда и везде одинакова: умна и глупа, сердечна и безжалостна — смотря по настроению. Она всегда была стадом, которое нуждается в хороших пастухах и собаках, и она всегда шла туда, куда вели ее пастухи и собаки. Вас возмущает, что она хохочет плоским остротам и аплодирует звонким фразам; но ведь она же, эта самая глупая публика, дает полные сборы на «Отелло» и, слушая оперу «Евгений Онегин», плачет, когда Татьяна пишет свое письмо.

 

It is not the public that is to blame for our theatres being so wretched. The public is always and everywhere the same: intelligent and stupid, sympathetic and pitiless according to mood. It has always been a flock which needs good shepherds and dogs, and it has always gone in the direction in which the shepherds and the dogs drove it. You are indignant that it laughs at flat witticisms and applauds sounding phrases; but then the very same stupid public fills the house to hear “Othello,” and, listening to the opera “Eugene Onegin,” weeps when Tatiana writes her letter.

 

Charlotte’s letter to Humbert in Part One of Lolita is a parody of Tatiana’s letter to Onegin in Chapter Three of Pushkin’s EO. VN wept when he wrote Lolita’s letter to Humbert (who receives it with Farlow’s letter):

 

I am saying all this in order to explain how bewildered I was by Farlow’s hysterical letter. I knew his wife had died but I certainly expected him to remain, throughout a devout widowhood, the dull, sedate and reliable person he had always been. Now he wrote that after a brief visit to the U. S. he had returned to South America and had decided that whatever affairs he had controlled at Ramsdale he would hand over to Jack Windmuller of that town, a lawyer whom we both knew. He seemed particularly relieved to get rid of the Haze “complications.” He had married a Spanish girl. He had stopped smoking and had gained thirty pounds. She was very young and a ski champion. They were going to India for their honeymoon - soon. Since he was “building a family” as he put it, he would have no time henceforth for my affairs which he termed “very strange and very aggravating.” Busybodies - a whole committee of them, it appeared - had informed him that the whereabouts of little Dolly Haze were unknown, and that I was living with a notorious divorcee in California. His father-in-law was a count, and exceedingly wealthy. The people who had been renting the Haze house for some years now wished to buy it. He suggested that I better produce Dolly quick. he had broken his leg. He enclosed a snapshot of himself and a brunette in white wool beaming at each other among the snows of Chile.

I remember letting myself into my flat and starting to say: Well, at least we shall now track them down - when the other letter began talking to me in a small matter-of-fact voice:

 

Dear Dad:

How’s everything? I’m married. I’m going to have a baby. I guess he’s going to be a big one. I guess he’ll come right for Christmas. This is a hard letter to write. I’m going nuts because we don’t have enough to pay our debts and get out of here. Dick is promised a big job in Alaska in his very specialized corner of the mechanical field, that’s all I know about it but it’s really grand. Pardon me for withholding our home address but you may still be mad at me, and Dick must not know. This town is something. You can’t see the morons for the smog. Please do send us a check, Dad. We could manage with three or four hundred or even less, anything is welcome, you might sell my old things, because once we go there the dough will just start rolling in. Write, please. I have gone through much sadness and hardship.

Yours expecting,

Dolly (Mrs. Richard F. Schiller) (2.27)

 

Good shepherds and dogs mentioned by Chekhov in his letter to Suvorin bring to mind the father of Mary Lore (a nurse in the Elphinstone hospital), an imported shepherd, a trainer of sheep dogs:

 

At one point, I was rather dreadfully rude to a very young and very cheeky nurse with overdeveloped gluteal parts and blazing black eyes - of Basque descent, as I learned. Her father was an imported shepherd, a trainer of sheep dogs. Finally, I returned to the car and remained in it for I do not know how many hours, hunched up in the dark, stunned by my new solitude, looking out open-mouthed now at the dimly illumined, very square and low hospital building squatting in the middle of its lawny block, now up at the wash of stars and the jagged silvery ramparts of the haute montagne  where at the moment Mary’s father, lonely Joseph Lore was dreaming of Oloron, Lagore, Rolas - que sais-je! - or seducing a ewe. (2.22)

 

When Humbert visits Lolita (now married to Richard F. Schiller) in Coalmont, a dog barks at him:

 

Hunter Road was miles away, in an even more dismal district, all dump and ditch, and wormy vegetable garden, and shack, and gray drizzle, and red mud, and several smoking stacks in the distance. I stopped at the last “house”a clapboard shack, with two or three similar ones farther away from the road and a waste of withered weeds all around. Sounds of hammering came from behind the house, and for several minutes I sat quite still in my old car, old and frail, at the end of my journey, at my gray goal, finis, my friends, finis, my fiends. The time was around two. My pulse was 40 one minute and 100 the next. The drizzle crepitated against the hood of the car. My gun had migrated to my right trouser pocket. A nondescript cur came out from behind the house, stopped in surprise, and started good-naturedly woof-woofing at me, his eyes slit, his shaggy belly all muddy, and then walked about a little and woofed once more. (2.28)

 

I got out of the car and slammed its door. How matter-of-fact, how square that slam sounded in the void of the sunless day! Woof, commented the dog perfunctorily. I pressed the bell button, it vibrated through my whole system. Personne. Je resonne. Repersonne. From what depth this re-nonsense? Woof, said the dog. A rush and a shuffle, and woosh-woof went the door. (2.29)

 

In his poem Vozvrashchenie na rodinu (“Coming Back to my Native Land,” 1924) Esenin mentions a small dog that greeted him po-bayronovski (à la Byron) with barks at the gate:

 

По-байроновски наша собачонка
Меня встречала с лаем у ворот.

 

Lolita’s mother dies under the wheels of a truck because of a neighbor’s hysterical dog. On the day of Charlotte’s death Humbert visits Dr. Byron (the Haze family physician):

 

Next day, after lunch, I went to see “our” doctor, a friendly fellow whose perfect bedside manner and complete reliance on a few patented drugs adequately masked his ignorance of, and indifference to, medical science. The fact that Lo would have to come back to Ramsdale was a treasure of anticipation. For this event I wanted to be fully prepared. I had in fact begun my campaign earlier, before Charlotte made that cruel decision of hers. I had to be sure when my lovely child arrived, that very night, and then night after night, until St. Algebra took her away from me, I would possess the means of putting two creatures to sleep so thoroughly that neither sound nor touch should rouse them. Throughout most of July I had been experimenting with various sleeping powders, trying them out on Charlotte, a great taker of pills. The last dose I had given her (she thought it was a tablet of mild bromides - to anoint her nerves) had knocked her out for four solid hours. I had put the radio at full blast. I had blazed in her face an olisbos-like flashlight. I had pushed her, pinched her, prodded her - and nothing had disturbed the rhythm of her calm and powerful breathing. However, when I had done such a simple thing as kiss her, she had awakened at once, as fresh and strong as an octopus (I barely escaped). This would not do, I thought; had to get something still safer. At first, Dr. Byron did not seem to believe me when I said his last prescription was no match for my insomnia. He suggested I try again, and for a moment diverted my attention by showing me photographs of his family. He had a fascinating child of Dolly’s age; but I saw through his tricks and insisted he prescribe the mightiest pill extant. He suggested I play golf, but finally agreed to give me something that, he said, “would really work”; and going to a cabinet, he produced a vial of violet-blue capsules banded with dark purple at one end, which, he said, had just been placed on the market and were intended not for neurotics whom a draft of water could calm if properly administered, but only for great sleepless artists who had to die for a few hours in order to live for centuries. I love to fool doctors, and though inwardly rejoicing, pocketed the pills with a skeptical shrug. Incidentally, I had had to be careful with him. Once, in another connection, a stupid lapse on my part made me mention my last sanatorium, and I thought I saw the tips of his ears twitch. Being not at all keen for Charlotte or anybody else to know that period of my past, I had hastily explained that I had once done some research among the insane for a novel. But no matter; the old rogue certainly had a sweet girleen.

I left in great spirits. Steering my wife’s car with one finger, I contentedly rolled homeward. Ramsdale had, after all, lots of charm. The cicadas whirred; the avenue had been freshly watered. Smoothly, almost silkily, I turned down into our steep little street. Everything was somehow so right that day. So blue and green. I knew the sun shone because my ignition key was reflected in the windshield; and I knew it was exactly half past three because the nurse who came to massage Miss Opposite every afternoon was tripping down the narrow sidewalk in her white stockings and shoes. As usual, Junk’s hysterical setter attacked me as I rolled downhill, and as usual, the local paper was lying on the porch where it had just been hurled by Kenny.

The day before I had ended the regime of aloofness I had imposed upon myself, and now uttered a cheerful homecoming call as I opened the door of the living room. With her ream-white nape and bronze bun to me, wearing the yellow blouse and maroon slacks she had on when I first met her, Charlotte sat at the corner bureau writing a letter. My hand still on the doorknob, I repeated my hearty cry. Her writing hand stopped. She sat still for a moment; then she slowly turned in her chair and rested her elbow on its curved back. Her face, disfigured by her emotion, was not a pretty sight as she stared at my legs and said:

“The Haze woman, the big bitch, the old cat, the obnoxious mamma, the - the old stupid Haze is no longer your dupe. She has - she has…”

My fair accuser stopped, swallowing her venom and her tears. Whatever Humbert Humbert said - or attempted to say - is inessential. She went on:

“You’re a monster. You’re a detestable, abominable, criminal fraud. If you come near - I’ll scream out the window. Get back!”

Again, whatever H.H. murmured may be omitted, I think.

“I am leaving tonight. This is all yours. Only you’ll never, never see that miserable brat again. Get out of this room.”

Reader, I did. I went up to the ex-semi-studio. Arms akimbo, I stood for a moment quite still and self-composed, surveying from the threshold the raped little table with its open drawer, a key hanging from the lock, four other household keys on the table top. I walked across the landing into the Humberts’ bedroom, and calmly removed my diary from under her pillow into my pocket. Then I started to walk downstairs, but stopped half-way: she was talking on the telephone which happened to be plugged just outside the door of the living room. I wanted to hear what she was saying: she canceled an order for something or other, and returned to the parlor. I rearranged my respiration and went through the hallway to the kitchen. There, I opened a bottle of Scotch. She could never resist Scotch. Then I walked into the dining room and from there, through the half-open door, contemplated Charlotte’s broad back.

“You are ruining my life and yours,” I said quietly. “Let us be civilized people. It is all your hallucination. You are crazy, Charlotte. The notes you found were fragments of a novel. Your name and hers were put in by mere chance. Just because they came handy. Think it over. I shall bring you a drink.”

She neither answered nor turned, but went on writing in a scorching scrawl whatever she was writing. A third letter, presumably (two in stamped envelopes were already laid out on the desk). I went back to the kitchen.

I set out two glasses (to St. Algebra? to Lo?) and opened the refrigerator. It roared at me viciously while I removed the ice from its heart. Rewrite. Let her read it again. She will not recall details. Change, forge. Write a fragment and show it to her or leave it lying around. Why do faucets sometimes whine so horribly? A horrible situation, really. The little pillow-shaped blocks of ice - pillows for polar teddy bear, Lo - emitted rasping, crackling, tortured sounds as the warm water loosened them in their cells. I bumped down the glasses side by side. I poured in the whiskey and a dram of soda. She had tabooed my pin. Bark and bang went the icebox. Carrying the glasses, I walked through the dining room and spoke through the parlor door which was a fraction ajar, not quite space enough for my elbow.

“I have made you a drink,” I said.

She did not answer, the mad bitch, and I placed the glasses on the sideboard near the telephone, which had started to ring.

“Leslie speaking. Leslie Tomson,” said Leslie Tomson who favored a dip at dawn. “Mrs. Humbert, sir, has been run over and you’d better come quick.”

I answered, perhaps a bit testily, that my wife was safe and sound, and still holding the receiver, I pushed open the door and said:

“There’s this man saying you’ve been killed, Charlotte.”

But there was no Charlotte in the living room. (1.22)

 

In a letter to his half-sister (and lover) Augusta Lord Byron accuses his wife of breaking open his writing-desk. Byron gave odd names to his dogs. As she speaks to Humbert, Jean Farlow mentions her dogs Cavall and Melampus:

 

From the debouchment of the trail came a rustle, a footfall, and Jean Farlow marched down with her easel and things.

“You scared us,” said Charlotte.

Jean said she had been up there, in a place of green concealment, spying on nature (spies are generally shot), trying to finish a lakescape, but it was no good, she had no talent whatever (which was quite true) - "And have you ever tried painting, Humbert?” Charlotte, who was a little jealous of Jean, wanted to know if John was coming.

He was. He was coming home for lunch today. He had dropped her on the way to Parkington and should be picking her up any time now. It was a grand morning. She always felt a traitor to Cavall and Melampus for leaving them roped on such gorgeous days. She sat down on the white sand between Charlotte and me. She wore shorts. Her long brown legs were about as attractive to me as those of a chestnut mare. She showed her gums when she smiled. (1.20)

 

In a letter of Nov. 25, 1892, to Suvorin Chekhov says that Byron was as smart as a hundred devils:

 

Ну-с, теперь об уме. Григорович думает, что ум может пересилить талант. Байрон был умён, как сто чертей, однако же талант его уцелел. Если мне скажут, что Икс понес чепуху оттого, что ум у него пересилил талант, или наоборот, то я скажу: это значит, что у Икса не было ни ума, ни таланта.

 

And now as to intellect, Sir Grigorovich thinks that intellect can overwhelm talent. Byron was as smart as a hundred devils; nevertheless, his talent has survived intact. If we say that X talked nonsense because his intellect overwhelmed his talent or vice versa, then I say X had neither brains nor talent.

 

In the same letter to Suvorin Chekhov says that the works of modern writers lack the alcohol that would intoxicate the reader:

 

Вас нетрудно понять, и Вы напрасно браните себя за то, что неясно выражаетесь. Вы горький пьяница, а я угостил Вас сладким лимонадом, и Вы, отдавая должное лимонаду, справедливо замечаете, что в нем нет спирта. В наших произведениях нет именно алкоголя, который бы пьянил и порабощал, и это Вы хорошо даете понять. Отчего нет? Оставляя в стороне «Палату № 6» и меня самого, будем говорить вообще, ибо это интересней. Будем говорить об общих причинах, коли Вам не скучно, и давайте захватим целую эпоху. Скажите по совести, кто из моих сверстников, т. е. людей в возрасте 30—45 лет дал миру хотя одну каплю алкоголя? Разве Короленко, Надсон и все нынешние драматурги не лимонад? Разве картины Репина или Шишкина кружили Вам голову? Мило, талантливо, Вы восхищаетесь и в то же время никак не можете забыть, что Вам хочется курить. Наука и техника переживают теперь великое время, для нашего же брата это время рыхлое, кислое, скучное, сами мы кислы и скучны, умеем рождать только гуттаперчевых мальчиков, и не видит этого только Стасов, которому природа дала редкую способность пьянеть даже от помоев. Причины тут не в глупости нашей, не в бездарности и не в наглости, как думает Буренин, а в болезни, которая для художника хуже сифилиса и полового истощения. У нас нет «чего-то», это справедливо, и это значит, что поднимите подол нашей музе, и Вы увидите там плоское место. Вспомните, что писатели, которых мы называем вечными или просто хорошими и которые пьянят нас, имеют один общий и весьма важный признак: они куда-то идут и Вас зовут туда же, и Вы чувствуете не умом, а всем своим существом, что у них есть какая-то цель, как у тени отца Гамлета, которая недаром приходила и тревожила воображение. У одних, смотря по калибру, цели ближайшие — крепостное право, освобождение родины, политика, красота или просто водка, как у Дениса Давыдова, у других цели отдаленные — бог, загробная жизнь, счастье человечества и т. п. Лучшие из них реальны и пишут жизнь такою, какая она есть, но оттого, что каждая строчка пропитана, как соком, сознанием цели, Вы, кроме жизни, какая есть, чувствуете еще ту жизнь, какая должна быть, и это пленяет Вас.

 

It is easy to understand you, and there is no need for you to abuse yourself for obscurity of expression. You are a hard drinker, and I have regaled you with sweet lemonade, and you, after giving the lemonade its due, justly observe that there is no spirit in it. That is just what is lacking in our productions — the alcohol which could intoxicate and subjugate, and you state that very well. Why not? Putting aside “Ward No. 6” and myself, let us discuss the matter in general, for that is more interesting. Let ms discuss the general causes, if that won’t bore you, and let us include the whole age. Tell me honestly, who of my contemporaries — that is, men between thirty and forty-five — have given the world one single drop of alcohol? Are not Korolenko, Nadson, and all the playwrights of to-day, lemonade? Have Repin’s or Shishkin’s pictures turned your head? Charming, talented, you are enthusiastic; but at the same time you can’t forget that you want to smoke. Science and technical knowledge are passing through a great period now, but for our sort it is a flabby, stale, and dull time. We are stale and dull ourselves, we can only beget gutta-percha boys, [Footnote: An allusion to Grigorovitch’s well-known story.] and the only person who does not see that is Stassov, to whom nature has given a rare faculty for getting drunk on slops. The causes of this are not to be found in our stupidity, our lack of talent, or our insolence, as Burenin imagines, but in a disease which for the artist is worse than syphilis or sexual exhaustion. We lack “something,” that is true, and that means that, lift the robe of our muse, and you will find within an empty void. Let me remind you that the writers, who we say are for all time or are simply good, and who intoxicate us, have one common and very important characteristic; they are going towards something and are summoning you towards it, too, and you feel not with your mind, but with your whole being, that they have some object, just like the ghost of Hamlet’s father, who did not come and disturb the imagination for nothing. Some have more immediate objects — the abolition of serfdom, the liberation of their country, politics, beauty, or simply vodka, like Denis Davydov; others have remote objects — God, life beyond the grave, the happiness of humanity, and so on. The best of them are realists and paint life as it is, but, through every line’s being soaked in the consciousness of an object, you feel, besides life as it is, the life which ought to be, and that captivates you.

 

In the “Fragments of Onegin’s Journey” ([XVII]: 13-14) Pushkin confesses that he has admixed a lot of water unto his poetic goblet. The ghost of Hamlet’s father brings to mind “no ghosts walk” in John Ray’s Foreword to Humbert’s manuscript:

 

For the benefit of old-fashioned readers who wish to follow the destinies of the “real” people beyond the “true” story, a few details may be given as received from Mr. “Windmuller,” or “Ramsdale,” who desires his identity suppressed so that “the long shadow of this sorry and sordid business” should not reach the community to which he is proud to belong. His daughter, “Louise,” is by now a college sophomore, “Mona Dahl” is a student in Paris. “Rita” has recently married the proprietor of a hotel in Florida. Mrs. “Richard F. Schiller” died in childbed, giving birth to a stillborn girl, on Christmas Day 1952, in Gray Star, a settlemen in the remotest Northwest. “Vivian Darkbloom” has written a biography, “My Cue,” to be publshed shortly, and critics who have perused the manuscript call it her best book. The caretakers of the various cemeteries involved report that no ghosts walk.

 

In his Foreword John Ray, Jr. compares Humbert's bizarre cognomen to a mask:

 

My task proved simpler than either of us had anticipated. Save for the correction of obvious solecisms and a careful suppression of a few tenacious details that despite “H. H.”‘s own efforts still subsisted in his text as signposts and tombstones (indicative of places or persons that taste would conceal and compassion spare), this remarkable memoir is presented intact. Its author’s bizarre cognomen is his own invention; and, of course, this mask - through which two hypnotic eyes seem to glow - had to remain unlifted in accordance with its wearer’s wish. While “Haze” only rhymes with the heroine’s real surname, her first name is too closely interwound with the inmost fiber of the book to allow one to alter it; nor (as the reader will perceive for himself) is there any practical necessity to do so. References to “H. H.”‘s crime may be looked up by the inquisitive in the daily papers for September-October 1952; its cause and purpose would have continued to come under my reading lamp.

 

Maska ("The Mask," 1884) is a story by Chekhov. In a letter of October 17 (29), 1897, to Suvorin Chekhov (who stayed in Pension Russe in Nice) asks Suvorin to bring from Paris Le Rire, zhurnal s portretom Gumberta (the magazine issue with King Umberto’s portrait):

 

Привезите журнал «Le rire» с портретом Гумберта, если попадётся на глаза.

Bring the issue of Le Rire with Umberto’s portrait, if you catch sight of it.

 

Umberto I was the King of Italy in 1878-1900. Princess X will never go to Italy with Onegin.

 

"I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader’s mind. No matter how many times we reopen King Lear, never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs, etc." mimics Proust's intonation. In Gaston Godin's studio there are large photographs of Tchaikovsky and Marcel Proust:

 

A word about Gaston Godin. The main reason why I enjoyed - or at least tolerated with relief - his company was the spell of absolute security that his ample person cast on my secret. Not that he knew it; I had no special reason to confide in him, and he was much too self-centered and abstract to notice or suspect anything that might lead to a frank question on his part and a frank answer on mine. He spoke well of me to Beardsleyans, he was my good herald. Had he discovered mes goûts and Lolita’s status, it would have interested him only insofar as throwing some light on the simplicity of my attitude towards him, which attitude was as free of polite strain as it was of ribald allusions; for despite his colorless mind and dim memory, he was perhaps aware that I knew more about him than the burghers of Beardsley did. He was a flabby, dough-faced, melancholy bachelor tapering upward to a pair of narrow, not quite level shoulders and a conical pear-head which had sleek black hair on one side and only a few plastered wisps on the other. But the lower part of his body was enormous, and he ambulated with a curious elephantine stealth by means of phenomenally stout legs. He always wore black, even his tie was black; he seldom bathed; his English was a burlesque. And, nonetheless, everybody considered him to be a supremely lovable, lovably freakish fellow! Neighbors pampered him; he knew by name all the small boys in our vicinity (he lived a few blocks away from me)and had some of them clean his sidewalk and burn leaves in his back yard, and bring wood from his shed, and even perform simple chores about the house, and he would feed them fancy chocolates, with real liqueurs inside - in the privacy of an orientally furnished den in his basement, with amusing daggers and pistols arrayed on the moldy, rug-adorned walls among the camouflaged hot-water pipes. Upstairs he had a studio - he painted a little, the old fraud. He had decorated its sloping wall (it was really not more than a garret) with large photographs of pensive André Gide, Tchaikovsky, Norman Douglas, two other well-known English writers, Nijinsky (all thighs and fig leaves), Harold D. Doublename (a misty-eyed left-wing professor at a Midwestern university) and Marcel Proust. All these poor people seemed about to fall on you from their inclined plane. He had also an album with snapshots of all the Jackies and Dickies of the neighborhood, and when I happened to thumb through it and make some casual remark, Gaston would purse his fat lips and murmur with a wistful pout “Oui, ils sont gentils.” His brown eyes would roam around the various sentimental and artistic bric-a-brac present, and his own banal toiles  (the conventionally primitive eyes, sliced guitars, blue nipples and geometrical designs of the day), and with a vague gesture toward a painted wooden bowl or veined vase, he would say “Prenez donc une de ces poires.  La bonne dame d’en face m’en offre plus que je n’en peux savourer. ” Or: “Mississe Taille Lore vient de me donner ces dahlias, belles fleurs que j’exècre  .” (Somber, sad, full of world-weariness.) (2.6)

 

Ces dahlias (beautiful flowers that Gaston Godin loathes) bring to mind Mona Dahl (Lolita's schoolmate and best friend at Beardsley College). Mona is the Venetian slang for female genitalia. In “The Reminiscences of Russia” Sabaneyev says that the poet Vyacheslav Ivanov compared all those recommendations that would allow him to leave the Soviet Russia and go to Rome to a kind of “pudenda” (external genital organs, especially of a woman):

 

Наконец препятствия были преодолены. Разрешение на выезд было дано. Даны были и чрезвычайно высокие рекомендации от разных почтенных советских учреждений.

Но Иванов был все же в тревоге; он решил получить рекомендательные письма от университета, потому что ехал в Западную Европу и рекомендации советских инстанций там могли иметь разве отрицательные воздействия, особенно в те годы.

С этой целью он решил повидать тогдашнего (одного из последних «выборных») ректора Московского университета, моего коллегу П. Н. Сакулина. Об этом свидании мне рассказывал сам Сакулин, и этот рассказ чрезвычайно характерен и для практической неловкости нашего поэта, и для того, чтобы понять, как человек «слишком мудрый» и слишком ученый может наделать глупостей.

Сакулин мне рассказывал, что «Вячеслав начал с того, что заявил, что он находится в обладании массы рекомендаций, но только от советских учреждений, и что это его удручает. «Все эти рекомендации для меня суть как своего рода "pudenda"» (выразился он, как привык, по-латыни), и что он хочет иметь рекомендации от Московского университета как от учреждения, сохранившего (тогда это было еще так) дозу независимости от властей.

– Я бы мог быть вам и университету полезен, – пояснил Иванов. – Я бы мог для примера рассказать, как героически ведет университет борьбу с властью за свою независимость…

Тут он заметил, что лицо Сакулина не выразило не только никакого восторга, но, напротив, явные признаки беспокойства. Надо помнить, что то были годы решительной и последней схватки университета с властью и что положение самого ректора Сакулина было более нежели неустойчивое (он был «выборный ректор», сторонник автономии и член партии народных социалистов, большевиками ненавидимой).

Заметив это, Вяч. Иванов продолжал совершенно спокойно:

– Ну, если вам это не подходит, я могу сделать там доклад о том, как университет успешно и плодотворно сотрудничает с новой властью…

Тут уже его прервал Сакулин:

– Вячеслав Иванович! Университет не есть фиговый листок для прикрывания ваших «pudenda»!

 

According to Sabaneyev, Sakulin (rector of the Moscow University) told Vyacheslav Ivanov that the University was not a fig leaf for covering his "pudenda." On a photograph in Gaston Godin's studio, Nijinsky (a ballet dancer) is all thighs and fig leaves.

 

A pederast, Gaston Godin gets involved in a sale histoire, in Naples of all places:

 

I am loath to dwell so long on the poor fellow (sadly enough, a year later, during a voyage to Europe, from which he did not return, he got involved in a sale histoire, in Naples of all places!). I would have hardly alluded to him at all had not his Beardsley existence had such a queer bearing on my case. I need him for my defense. There he was devoid of any talent whatsoever, a mediocre teacher, a worthless scholar, a glum repulsive fat old invert, highly contemptuous of the American way of life, triumphantly ignorant of the English language - there he was in priggish New England, crooned over by the old and caressed by the young - oh, having a grand time and fooling everybody; and here was I. (ibid.)

 

Describing the murder of Quilty, Humbert compares his victim to old, gray, mad Nijinski:

 

Feu. This time I hit something hard. I hit the back of a black rocking chair, not unlike Dolly Schiller’s - my bullet hit the inside surface of its back whereupon it immediately went into a rocking act, so fast and with such zest that any one coming into the room might have been flabbergasted by the double miracle: that chair rocking in a panic all by itself, and the armchair, where my purple target had just been, now void of all life content. Wiggling his fingers in the air, with a rapid heave of his rump, he flashed into the music room and the next second we were tugging and gasping on both sides of the door which had a key I had overlooked. I won again, and with another abrupt movement Clare the Impredictable sat down before the piano and played several atrociously vigorous, fundamentally hysterical, plangent chords, his jowls quivering, his spread hands tensely plunging, and his nostrils emitting the soundtrack snorts which had been absent from our fight. Still singing those impossible sonorities, he made a futile attempt to open with his foot a kind of seaman’s chest near the piano. My next bullet caught him somewhere in the side, and he rose from his chair higher and higher, like old, gray, mad Nijinski, like Old faithful, like some old nightmare of mine, to a phenomenal altitude, or so it seemed, as he rent the air - still shaking with the rich black music - head thrown back in a howl, hand pressed to his brow, and with his other hand clutching his armpit as if stung by a hornet, down he came on his heels and, again a normal robed man, scurried out into the hall. (2.35)

 

In his poem September 1, 1939 W. H. Auden mentions mad Nijinsky and Diaghilev (the ballet master):

 

The windiest militant trash
Important Persons shout
Is not so crude as our wish:
What mad Nijinsky wrote
About Diaghilev
Is true of the normal heart;
For the error bred in the bone
Of each woman and each man
Craves what it cannot have,
Not universal love
But to be loved alone.

 

In “The Reminiscences of Russia” Sabaneyev speaks of Esenin and quotes Diaghilev's words about Isadora Duncan (Esenin's wife, the dancer):

 

Есенин не только с ней грубо обращался – как-то утрированно-грубо, но он над ней издевался, учил ее неприличным русским словам, выдавая их за приличные, так что получались совершенно дикие положения. Во время этого второго (и последнего) моего с ней свидания я увидел, что этот запоздалый роман на нее произвел глубокое и очень тяжелое впечатление: это было уже началом ее окончательного увядания.
Но «хореографически» она увяла уже тогда, когда приехала в Россию и устроила в ней свою «школу». Я ее больше в этой школе не посещал – было неинтересно. Из коммунистов ее поддерживал только Луначарский – остальные сохраняли мрачный нейтралитет. Некоторое время в Кремле создалась непродолжительная мода на то, чтобы «дети кремлевской аристократии», наркомов и иных высоких особ, учились в школе Дункан: они как бы поддерживали ее бытие, помимо того, что она, по-видимому, получали от правительства субсидию. Дягилев уже в Париже (когда я уже был в эмиграции) говорил мне, что вся авантюра Дункан с коммунистической Россией была вызвана ее «экономическим кризисом», а вовсе не идеями: идея была только кое-как прилажена к событиям. Дягилев вообще был циник и «дунканизм» не любил – он был поклонник классического балета и считал дунканизм «любительством», в чем, возможно, был и прав.

 

Like Lolita's mother, Isadora Duncan died in a car accident (was strangled by her own scarf caught in a wheel). Among the books that Humbert brings to Lolita in the Elphinstone hospital are The History of Dancing and The Russian Ballet:

 

Of the eight times I visited her, the last one alone remains sharply engraved on my mind. It had been a great feat to come for I felt all hollowed out by the infection that by then was at work on me too. None will know the strain it was to carry that bouquet, that load of love, those books that I had traveled sixty miles to buy: Browning’s Dramatic Works, The History of Dancing, Clowns and Columbines, The Russian Ballet, Flowers of the Rockies, the Theatre Guild Anthology, Tennis  by Helen Wills, who had won the National Junior Girl Singles at the age of fifteen. As I was staggering up to the door of my daughter’s thirteen-dollar-a day private room, Mary Lore, the beastly young part-time nurse who had taken an unconcealed dislike to me, emerged with a finished breakfast tray, placed it with a quick crash on a chair in the corridor, and, fundament jigging, shot back into the room - probably to warn her poor little Dolores that the tyrannical old father was creeping up on crepe soles, with books and bouquet: the latter I had composed of wild flowers and beautiful leaves gathered with my own gloved hands on a mountain pass at sunrise (I hardly slept at all that fateful week). (2.22)