The characters in VN's novel Lolita (1955) include Frederick Beale, Jr., the driver of the Packard that kills Charlotte (Lolita's mother whom Humbert Humbert married in order to get access to her daughter):
I rushed out. The far side of our steep little street presented a peculiar sight. A big black glossy Packard had climbed Miss Opposite’s sloping lawn at an angle from the sidewalk (where a tartan laprobe had dropped in a heap), and stood there, shining in the sun, its doors open like wings, its front wheels deep in evergreen shrubbery. To the anatomical right of this car, on the trim turn of the lawn-slope, an old gentleman with a white mustache, well-dressed - double-breasted gray suit, polka-dotted bow-tielay supine, his long legs together, like a death-size wax figure. I have to put the impact of an instantaneous vision into a sequence of words; their physical accumulation in the page impairs the actual flash, the sharp unity of impression: Rug-heap, car, old man-doll, Miss O.’s nurse running with a rustle, a half-empty tumbler in her hand, back to the screened porchwhere the propped-up, imprisoned, decrepit lady herself may be imagined screeching, but not loud enough to drown the rhythmical yaps of the Junk setter walking from group to group - from a bunch of neighbors already collected on the sidewalk, near the bit of checked stuff, and back to the car which he had finally run to earth, and then to another group on the lawn, consisting of Leslie, two policemen and a sturdy man with tortoise shell glasses. At this point, I should explain that the prompt appearance of the patrolmen, hardly more than a minute after the accident, was due to their having been ticketing the illegally parked cars in a cross lane two blocks down the grade; that the fellow with the glasses was Frederick Beale, Jr., driver of the Packard; that his 79-year-old father, whom the nurse had just watered on the green bank where he lay - a banked banker so to speak - was not in a dead faint, but was comfortably and methodically recovering from a mild heart attack or its possibility; and, finally, that the laprobe on the sidewalk (where she had so often pointed out to me with disapproval the crooked green cracks) concealed the mangled remains of Charlotte Humbert who had been knocked down and dragged several feet by the Beale car as she was hurrying across the street to drop three letters in the mailbox, at the corner of Miss Opposite’s lawn. These were picked up and handed to me by a pretty child in a dirty pink frock, and I got rid of them by clawing them to fragments in my trouser pocket. (1.23)
Speaking of busybodies, I had another visitor - friend Beale, the fellow who eliminated my wife. Stodgy and solemn, looking like a kind of assistant executioner, with his bulldog jowls, small black eyes, thickly rimmed glasses and conspicuous nostrils, he was ushered in by John who then left us, closing the door upon us, with the utmost tact. Suavely saying he had twins in my stepdaughter’s class, my grotesque visitor unrolled a large diagram he had made of the accident. It was, as my stepdaughter would have put it, “a beaut,” with all kinds of impressive arrows and dotted lines in varicolored inks. Mrs. H. H.’s trajectory was illustrated at several points by a series of those little outline figures - doll-like wee career girl or WAC - used in statistics as visual aids. Very clearly and conclusively, this route came into contact with a boldly traced sinuous line representing two consecutive swerves - one which the Beale car made to avoid the Junk dog (dog not shown), and the second, a kind of exaggerated continuation of the first, meant to avert the tragedy. A very black cross indicated the spot where the trim little outline figure had at last come to rest on the sidewalk. I looked for some similar mark to denote the place on the embankment where my visitor’s huge wax father had reclined, but there was none. That gentleman, however, had signed the document as a witness underneath the name of Leslie Tomson, Miss Opposite and a few other people.
With his hummingbird pencil deftly and delicately flying from one point to another, Frederick demonstrated his absolute innocence and the recklessness of my wife: while he was in the act of avoiding the dog, she slipped on the freshly watered asphalt and plunged forward whereas she should have flung herself not forward but backward (Fred showed how by a jerk of his padded shoulder). I said it was certainly not his fault, and the inquest upheld my view.
Breathing violently though jet-black tense nostrils, he shook his head and my hand; then, with an air of perfect savoir vivre and gentlemanly generosity, he offered to pay the funeral-home expenses. He expected me to refuse his offer. With a drunken sob of gratitude I accepted it. This took him aback. Slowly, incredulously, he repeated what he had said. I thanked him again, even more profusely than before.
In result of that weird interview, the numbness of my soul was for a moment resolved. And no wonder! I had actually seen the agent of fate. I had palpated the very flesh of fateand its padded shoulder. A brilliant and monstrous mutation had suddenly taken place, and here was the instrument. Within the intricacies of the pattern (hurrying housewife, slippery pavement, a pest of a dog, steep grade, big car, baboon at its wheel), I could dimly distinguish my own vile contribution. Had I not been such a foolor such an intuitive geniusto preserve that journal, fluids produced by vindictive anger and hot shame would not have blinded Charlotte in her dash to the mailbox. But even had they blinded her, still nothing might have happened, had not precise fate, that synchronizing phantom, mixed within its alembic the car and the dog and the sun and the shade and the wet and the weak and the strong and the stone. Adieu, Marlene! Fat fate’s formal handshake (as reproduced by Beale before leaving the room) brought me out of my torpor; and I wept. Ladies and gentlemen of the jury - I wept. (ibid.)
In 1855, James Elphinstone (James Henry Walker Elphinstone, a well-known 19th-century English actor and theater figure, c. 1815/1818 - 1892) and Frederick Neale (a playwright and theater manager) created an "entire new version" stage adaptation of Charles Dickens' Oliver Twist (Oliver Twist; or, The Parish Boy's Progress, 1838). In the early 1850s, Frederick Neale acted as the co-lessee, treasurer, and stage manager of the Royal Pavilion Theatre (a major "minor" melodrama house located in the Whitechapel district of London's East End) alongside his business partner James Elphinstone. During and around his management years (spanning roughly 1852 to 1855), Neale co-wrote and submitted numerous popular melodramas and pantomimes specifically tailored for the Pavilion stage. Notable works included early stage adaptations of Charles Dickens's Bleak House (c. 1853) and Oliver Twist, as well as standalone domestic dramas like Temptation (1855).
Humbert Humbert describes Charlotte as "a weak solution of Marlene Dietrich" (a German and American actress and singer, 1901-1992). Her performance as Lola Lola in Josef von Sternberg's The Blue Angel (1930) brought her international acclaim and a contract with Paramount Pictures. A German musical comedy-drama film based on Heinrich Mann's 1905 novel Professor Unrat (Professor Filth) and set in an unspecified northern German port city, Der Blaue Engel (The Blue Angel) brings to mind Dr Blue, the chief physician at the Elphinstone hospital (where Lolita dies of ague on July 4, 1949). Frederick Beale has the same first name as Frédéric Chopin (a Polish composer and virtuoso pianist, 1810-1849), the author of Marche funèbre, the third movement of Piano Sonata No. 2 in B-flat minor, Op. 35 (composed around 1837–1839), and Frederick Winterbourne, a character (27-year-old American expatriate and gentleman raised in Europe) in Henry James's novella Daisy Miller (1879). Lolita tells Humbert Humbert that she was a daisy-fresh girl before their first love-making:
“You chump,” she said, sweetly smiling at me. “You revolting creature. I was a daisy-fresh girl, and look what you’ve done to me. I ought to call the police and tell them you raped me. Oh, you dirty, dirty old man.”
Was she just joking? An ominous hysterical note rang through her silly words. Presently, making a sizzling sound with her lips, she started complaining of pains, said she could not sit, said I had torn something inside her. The sweat rolled down my neck, and we almost ran over some little animal or other that was crossing the road with tail erect, and again my vile-tempered companion called me an ugly name. When we stopped at the filling station, she scrambled out without a word and was a long time away. Slowly, lovingly, an elderly friend with a broken nose wiped my windshield - they do it differently at every place, from chamois cloth to soapy brush, this fellow used a pink sponge.
She appeared at last. “Look,” she said in that neutral voice that hurt me so, “give me some dimes and nickels. I want to call mother in that hospital. What’s the number?”
“Get in,” I said. “You can’t call that number.”
“Why?”
“Get in and slam the door.”
She got in and slammed the door. The old garage man beamed at her. I swung onto the highway.
“Why can’t I call my mother if I want to?”
“Because,” I answered, “your mother is dead.” (1.32)
Describing Lolita's hospitalization in Elphinstone (a small town in the Rocky Mountains), Humbert Humbert mentions millions of so-called “millers,” a kind of insect, swarming around the neon contours of “No Vacancy:”
Mrs. Hays, the brisk, briskly rouged, blue-eyed widow who ran the motor court, asked me if I were Swiss perchance, because her sister had married a Swiss ski instructor. I was, whereas my daughter happened to be half Irish. I registered, Hays gave me the key and a tinkling smile, and, still twinkling, showed me where to park the car; Lo crawled out and shivered a little: the luminous evening air was decidedly crisp. Upon entering the cabin, she sat down on a chair at a card table, buried her face in the crook of her arm and said she felt awful. Shamming, I thought, shamming, no doubt, to evade my caresses; I was passionately parched; but she began to whimper in an unusually dreary way when I attempted to fondle her. Lolita ill. Lolita dying. Her skin was scalding hot! I took her temperature, orally, then looked up a scribbled formula I fortunately had in a jotter and after laboriously reducing the, meaningless to me, degrees Fahrenheit to the intimate centigrade of my childhood, found she had 40.4, which at least made sense. Hysterical little nymphs might, I knew, run up all kinds of temperature - even exceeding a fatal count. And I would have given her a sip of hot spiced wine, and two aspirins, and kissed the fever away, if, upon an examination of her lovely uvula, one of the gems of her body, I had not seen that it was a burning red. I undressed her. Her breath was bittersweet. Her brown rose tasted of blood. She was shaking from head to toe. She complained of a painful stiffness in the upper vertebrae - and I thought of poliomyelitis as any American parent would. Giving up all hope of intercourse, I wrapped her in a laprobe and carried her into the car. Kind Mrs. Hays in the meantime had alerted the local doctor. “You are lucky it happened here,” she said; for not only was Blue the best man in the district, but the Elphinstone hospital was as modern as modern could be, despite its limited capacity. With a heterosexual Erlkönig in pursuit, thither I drove, half-blinded by a royal sunset on the lowland side and guided by a little old woman, a portable witch, perhaps his daughter, whom Mrs. Hays had lent me, and whom I was never to see again. Dr. Blue, whose learning, no doubt, was infinitely inferior to his reputation, assured me it was a virus infection, and when I alluded to her comparatively recent flu, curtly said this was another bug, he had forty such cases on his hands; all of which sounded like the “ague” of the ancients. I wondered if I should mention, with a casual chuckle, that my fifteen-year-old daughter had had a minor accident while climbing an awkward fence with her boy friend, but knowing I was drunk, I decided to withhold the information till later if necessary. To an unsmiling blond bitch of a secretary I gave my daughter’s age as “practically sixteen.” While I was not looking, my child was taken away from me! In vain I insisted I be allowed to spend the night on a “welcome” mat in a corner of their damned hospital. I ran up constructivistic flights of stairs, I tried to trace my darling so as to tell her she had better not babble, especially if she felt as lightheaded as we all did. 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. Such-like fragrant vagabond thoughts have been always a solace to me in times of unusual stress, and only when, despite liberal libations, I felt fairly numbed by the endless night, did I think of driving back to the motel. The old woman had disappeared, and I was not quite sure of my way. Wide gravel roads criss-crossed drowsy rectangual shadows. I made out what looked like the silhouette of gallows on what was probably a school playground; and in another waste - like black there rose in domed silence the pale temple of some local sect. I found the highway at last, and then the motel, where millions of so-called “millers,” a kind of insect, were swarming around the neon contours of “No Vacancy”; and, when, at 3 a. m., after one of those untimely hot showers which like some mordant only help to fix a man’s despair and weariness, I lay on her bed that smelled of chestnuts and roses, and peppermint, and the very delicate, very special French perfume I latterly allowed her to use, I found myself unable to assimilate the simple fact that for the first time in two years I was separated from my Lolita. All at once it occurred to me that her illness was somehow the development of a theme - that it had the same taste and tone as the series of linked impressions which had puzzled and tormented me during our journey; I imagined that secret agent, or secret lover, or prankster, or hallucination, or whatever he was, prowling around the hospital - and Aurora had hardly “warmed her hands,” as the pickers of lavender say in the country of my birth, when I found myself trying to get into that dungeon again, knocking upon its green doors, breakfastless, stool-less, in despair.
This was Tuesday, and Wednesday or Thursday, splendidly reacting like the darling she was to some “serum” (sparrow’s sperm or dugong’s dung), she was much better, and the doctor said that in a couple of days she would be “skipping” again. (2.22)