Vladimir Nabokov

NABOKV-L post 0020692, Tue, 7 Sep 2010 22:54:02 -0300

Re: THOUGHTS: Phanessa/Vanessa, more dark and light
Matt Roth: Kinbote's note to 270: It is so like the heart of a scholar in search of a fond name to pile a butterfly genus upon an Orphic divinity on top of the inevitable allusion to Vanhomrigh, Esther!
According to some sources, the three primary Orphic divinities are Phanes, Uranus, and Cronus. In the Pale Fire cosmology, these are related to the Vanessa, Kinbote (Uranist), and Father Time (more on him in a different post).
Any other ideas?

JM: Something else called my attention when I associated the sudden flare of an epiphany with evanescence (as it appears in one of the senses of 'phaneros'), after I noticed that the name of the butterfly is "Vanessa" and Swift's lover appears from the syllables Van-(homrigh) and Es-(ther). Is there is a hint of something on the vane or a vaning moon? Or evanscence?

I explored it using the google and came up with a connection between Orphic rites and a Pythagorean butterfly (metempsychosis, evolution...themes dealt by Shade).
In contrast, examining literary uses associated to Orphism, the term "evanscent" appeared in relation to Orpheus (and Mallarmé's works).

By using the google unprecedent links abound and can be easily found...

THE ORPHIC MOMENT: SHAMAN TO POET-THINKER IN PLATO, NIETZSCHE, AND MALLARME. By Robert McGahey. Albany: State University of New York Press, 1994. xxi, 209 p.
Orpheus appears to be very much alive in the second half of the twentieth century. Since the publication of Elizabeth Sewell's The Orphic Voice (1960) there have been several studies related to the Orpheus theme, among which Robert McGahey's is the latest. The major contribution of this study, which distinguishes it from its predecessors, is to establish a strong link between Plato and Mallarme, by way of Nietzsche, and under the aegis of the shaman figure, whose modern incarnation is the poet-thinker. In this way the anchorage of Orpheus in antiquity, as well as the history of religions and modern critical philosophy, is securely grounded, and our perspective on Orpheus is sharpened in a number of ways...The theme of The Orphic Moment is the "close relation of myth and language" (p. 4). It makes a strong case for the Orphic poet in Plato (p. 34) and draws Plato, Nietzsche, and Mallarme together in the handsome phrase that ends the following quotation:
Whereas Plato provides a topos, a universe of images that contains the labor of Mallarme's Orphism, Nietzsche contributes a precise setting for Mallarme's Orpheus. His construct, Apollo-Dionysos, a fundamental contrariety of "art deities" defining the world as "aesthetic phenomenon," creates a frame for Orpheus: god of an evanescent moment that the French poet dances into being. (p. 52)

http://homepage.mac.com/dodecatheon/24M..The new divine being then maintains in full its psychic corpuscle and this is expressed with the theogonic Orphic allegory where theOrphic egg-psychical corpuscle becomes bright and radiant, acquires golden wings and turns into the new divine being, otherwise known as Phanes of the Orphic theology or as the Pythagorean butterfly. The Orphic egg-psychic corpuscle, while remaining the same anatomicaly, continues intact its further evolutionary course.
This fact (of the preservation of the psychic corpuscle) has great consequences: Firstly, it establishes in an absolute manner the Consubstantiality of all forms of life. Secondly, it guarantees the absolutely material nature of the Higher Worlds. Thirdly, it confirms the polytheistic nature of our traditional religion explaining how the Gods are not only individuals but distinct personalities as well: the Gods preserve their psychic corpuscle and its recordings, they maintain their memories and their own personality traits.The evolution of the divine being follows the stages that have been well described by the Classics and the first of those are that of hero, daemon and God. says Plutarch (Plutarch's Moralia: Obsolescence of Oracles, 415):

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