According to Humbert Humbert (the narrator and main character in VN’s novel Lolita, 1955), his wife Charlotte (Lolita’s mother) is a very mediocre mermaid:
The short white-sand strip of “our” beach – from which by now we had gone a little way to reach deep water – was empty on weekday mornings. There was nobody around except those two tiny very busy figures on the opposite side, and a dark-red private plane that droned overhead, and then disappeared in the blue. The setting was really perfect for a brisk bubbling murder, and here was the subtle point: the man of law and the man of water were just near enough to witness an accident and just far enough not to observe a crime. They were near enough to hear a distracted bather thrashing about and bellowing for somebody to come and help him save his drowning wife; and they were too far to distinguish (if they happened to look too soon) that the anything but distracted swimmer was finishing to tread his wife underfoot. I was not yet at that stage; I merely want to convey the ease of the act, the nicety of the setting! So there was Charlotte swimming on with dutiful awkwardness (she was a very mediocre mermaid), but not without a certain solemn pleasure (for was not her merman by her side?); and as I watched, with the stark lucidity of a future recollection (you know – trying to see things as you will remember having seen them), the glossy whiteness of her wet face so little tanned despite all her endeavors, and her pale lips, and her naked convex forehead, and the tight black cap, and the plump wet neck, I knew that all I had to do was to drop back, take a deep breath, then grab her by the ankle and rapidly dive with my captive corpse. I say corpse because surprise, panic and inexperience would cause her to inhale at once a lethal gallon of lake, while I would be able to hold on for at least a full minute, open-eyed under water. The fatal gesture passed like the tail of a falling star across the blackness of the contemplated crime. It was like some dreadful silent ballet, the male dancer holding the ballerina by her foot and streaking down through watery twilight. I might come up for a mouthful of air while still holding her down, and then would dive again as many times as would be necessary, and only when the curtain came down on her for good, would I permit myself to yell for help. And when some twenty minutes later the two puppets steadily growing arrived in a rowboat, one half newly painted, poor Mrs. Humbert Humbert, the victim of a cramp or coronary occlusion, or both, would be standing on her head in the inky ooze, some thirty feet below the smiling surface of Hourglass Lake. (1.20)
At the beginning of Ars Poetica Horace describes a mermaid-like creature:
Humano capiti ceruicem pictor equinam
iungere si uelit et uarias inducere plumas
undique collatis membris, ut turpiter atrum
desinat in piscem mulier formosa superne,
spectatum admissi, risum teneatis, amici?
Credite, Pisones, isti tabulae fore librum
persimilem, cuius, uelut aegri somnia, uanae
fingentur species, ut nec pes nec caput uni
reddatur formae. "Pictoribus atque poetis
quidlibet audendi semper fuit aequa potestas."
If a painter had chosen to set a human head
On a horse’s neck, covered a melding of limbs,
Everywhere, with multi-coloured plumage, so
That what was a lovely woman, at the top,
Ended repulsively in the tail of a black fish:
Asked to a viewing, could you stifle laughter, my friends?
Believe me, a book would be like such a picture,
Dear Pisos, if it’s idle fancies were so conceived
That neither its head nor foot could be related
To a unified form. ‘But painters and poets
Have always shared the right to dare anything.’
(tr. A. S. Kline)
In his Ode to Licinius Murena (Liber II, Carmen X) Horace famously mentions auream mediocritatem (the golden mean):
Rectius vives, Licini, neque altum
semper urgendo neque, dum procellas
cautus horrescis, nimium premendo
litus iniquum.
auream quisquis mediocritatem
diligit, tutus caret obsoleti
sordibus tecti, caret invidenda
sobrius aula.
saepius ventis agitatur ingens
pinus et celsae graviore casu
decidunt turres feriuntque summos
fulgura montis
sperat infestis, metuit secundis
alteram sortem bene praeparatum
pectus. informis hiemes reducit
Iuppiter, idem
submovet. non, si male nunc, et olim
sic erit: quondam cithara tacentem
suscitat Musam neque semper arcum
tendit Apollo.
rebus angustis animosus atque
fortis adpare: sapienter idem
contrahes vento nimium secundo
turgida vela.
You’ll live more virtuously, my Murena,
by not setting out to sea, while you’re in dread
of the storm, or hugging fatal shores
too closely, either.
Whoever takes delight in the golden mean,
safely avoids the squalor of a shabby house,
and, soberly, avoids the regal palace
that incites envy.
The tall pine’s more often shaken by the wind,
and it’s a high tower that falls with a louder
crash, while the mountainous summits are places
where lightning strikes.
The heart that is well prepared for any fate
hopes in adversity, fears prosperity.
Though Jupiter brings us all the unlovely
winters: he also
takes them away again. If there’s trouble now
it won’t always be so: sometimes Apollo
rouses the sleeping Muse with his lyre, when he’s
not flexing his bow.
Appear brave and resolute in difficult
times: and yet be wise and take in all your sails
when they’re swollen by too powerful
a following wind.
In his rhymed Russian version (K Lyutsiniyu Murene, 1856) of Horace’s ode Afanasiy Fet renders auream mediocritatem as zlataya posredstvennost’ (the golden mediocrity):
Златую кто избрал посредственность на долю,
Тот будет презирать, покоен до конца,
Лачугу грязную и пышную неволю
Завидного дворца.
In the Russian version (1967) of Lolita Gumbert Gumbert says that his wife is ves'ma posredstvennaya undina.
The maiden name of Fet’s mother was Charlotte Becker. Charlotte Humbert was born Charlotte Becker:
That day John had to see a customer, and Jean had to feed her dogs, and so I was to be deprived temporarily of my friends’ company. The dear people were afraid I might commit suicide if left alone, and since no other friends were available (Miss Opposite was incommunicado, the McCoos were busy building a new house miles away, and the Chatfields had been recently called to Maine by some family trouble of their own), Leslie and Louise were commissioned to keep me company under the pretense of helping me to sort out and pack a multitude of orphaned things. In a moment of superb inspiration I showed the kind and credulous Farlows (we were waiting for Leslie to come for his paid tryst with Louise) a little photograph of Charlotte I had found among her affairs. From a boulder she smiled through blown hair. It had been taken in April 1934, a memorable spring. While on a business visit to the States, I had had occasion to spend several months in Pisky. We met - and had a mad love affair. I was married, alas, and she was engaged to Haze, but after I returned to Europe, we corresponded through a friend, now dead. Jean whispered she had heard some rumors and looked at the snapshot, and, still looking, handed it to John, and John removed his pipe and looked at lovely and fast Charlotte Becker, and handed it back to me. Then they left for a few hours. Happy Louise was gurgling and scolding her swain in the basement.
Hardly had the Farlows gone than a blue-chinned cleric called - and I tried to make the interview as brief as was consistent with neither hurting his feelings nor arousing his doubts. Yes, I would devote all my life to the child’s welfare. Here, incidentally, was a little cross that Charlotte Becker had given me when we were both young. I had a female cousin, a respectable spinster in New York. There we would find a good private school for Dolly. Oh, what a crafty Humbert! (1.23)