The characters in VN's novel Transparent Things (1972) include Monsieur Wilde, a Swiss businessman to whom Hugh Person talks in the lounge of the Ascot Hotel in Witt on the eve of his death:
What had you expected of your pilgrimage, Person? A mere mirror rerun of hoary torments? Sympathy from an old stone? Enforced re-creation of irrecoverable trivia? A search for lost time in an utterly distinct sense from Goodgrief's dreadful "Je me souviens, je me souviens de la maison où je suis né" or, indeed, Proust's quest? He had never experienced here (save once at the end of his last ascent) anything but boredom and bitterness. Something else had made him revisit dreary drab Witt.
Not a belief in ghosts. Who would care to haunt half-remembered lumps of matter (he did not know that Jacques lay buried under six feet of snow in Chute, Colorado), uncertain itineraries, a club hut which some spell prevented him from reaching and whose name anyway had got hopelessly mixed with "Draconite," a stimulant no longer in production but still advertised on fences, and even cliff walls. Yet something connected with spectral visitations had impelled him to come all the way from another continent. Let us make this a little clearer.
Practically all the dreams in which she had appeared to him after her death had been staged not in the settings of an American winter but in those of Swiss mountains and Italian lakes. He had not even found the spot in the woods where a gay band of little hikers had interrupted an unforgettable kiss. The desideratum was a moment of contact with her essential image in exactly remembered surroundings.
Upon returning to the Ascot Hotel he devoured an apple, pulled off his clay-smeared boots with a snarl of rejection, and, ignoring his sores and dampish socks, changed to the comfort of his town shoes. Back now to the torturing task!
Thinking that some small visual jog might make him recall the number of the room that he had occupied eight years ago, he walked the whole length of the third-floor corridor - and after getting only blank stares from one number after another, halted: the expedient had worked. He saw a very black 313 on a very white door and recalled instantly how he had told Armande (who had promised to visit him and did not wish to be announced): "Mnemonically it should be imagined as three little figures in profile, a prisoner passing by with one guard in front of him and another behind." Armande had rejoined that this was too fanciful for her, and that she would simply write it down in the little agenda she kept in her bag.
A dog yapped on the inner side of the door: the mark, he told himself, of substantial occupancy. Nevertheless, he carried away a feeling of satisfaction, the sense of having recovered an important morsel of that particular past.
Next, he proceeded downstairs and asked the fair receptionist to ring up the hotel in Stresa and find out if they could let him have for a couple of days the room where Mr. and Mrs. Hugh Person had stayed eight years ago. Its name, he said, sounded like "Beau Romeo." She repeated it in its correct form but said it might take a few minutes. He would wait in the lounge.
There were only two people there, a woman eating a snack in a far corner (the restaurant was unavailable, not yet having been cleaned after a farcical fight) and a Swiss businessman flipping through an ancient number of an American magazine (which had actually been left there by Hugh eight years ago, but this line of life nobody followed up). A table next to the Swiss gentleman was littered with hotel pamphlets and fairly recent periodicals. His elbow rested on the Transatlantic. Hugh tugged at the magazine and the Swiss gentleman fairly sprang up in his chair. Apologies and counter-apologies blossomed into conversation. Monsieur Wilde's English resembled in many ways that of Armande, both in grammar and intonation. He had been shocked beyond measure by an article in Hugh's Transatlantic (borrowing it for a moment, wetting his thumb, finding the place and slapping the page with the back of his fingers as he returned the thing opened on the offensive article).
"One talks here of a man who murdered his spouse eight years ago and - "
The receptionist, whose desk and bust he could distinguish in miniature from where he sat, was signaling to him from afar. She burst out of her enclosure and advanced toward him:
"One does not reply," she said, "do you want me to keep trying?"
"Yes, oh yes," said Hugh, getting up, bumping into somebody (the woman who had enveloped the fat that remained of her ham in a paper napkin and was leaving the lounge). "Yes. Oh, excuse me. Yes, by all means. Do call Information or something."
Well, that murderer had been given life eight years ago (Person was given it, in an older sense, eight years ago, too, but squandered, squandered all of it in a sick dream!), and now, suddenly, he was set free, because, you see, he had been an exemplary prisoner and had even taught his cell-mates such things as chess, Esperanto (he was a confirmed Esperantist), the best way to make pumpkin pie (he was also a pastry cook by trade), the signs of the zodiac, gin rummy, et cetera, et cetera. For some people, alas, a gal is nothing but a unit of acceleration used in geodesy.
It was appalling, continued the Swiss gentleman, using an expression Armande had got from Julia (now Lady X), really appalling how crime was pampered nowadays. Only today a temperamental waiter who had been accused of stealing a case of the hotel's Dôle (which Monsieur Wilde did not recommend, between parentheses) punched the maÎtre d'hôtel in the eye, black-buttering it gravely. Did - his interlocutor suppose that the hotel called the police? No, mister, they did not. Eh bien, on a higher (or lower) level the situation is similar. Had the bilinguist ever considered the problem of prisons?
Oh, he had. He himself had been jailed, hospitalized, jailed again, tried twice for throttling an American girl (now Lady X): "At one stage I had a monstrous cellmate - during a whole year. If I were a poet (but I'm only a proofreader) I would describe to you the celestial nature of solitary confinement, the bliss of an immaculate toilet, the liberty of thought in the ideal jail. The purpose of prisons" (smiling at Monsieur Wilde who was looking at his watch and not seeing much anyway) "is certainly not to cure a killer, nor is it only to punish him (how can one punish a man who has everything with him, within 'him, around him?). Their only purpose, a pedestrian purpose but the only logical one, is to prevent a killer from killing again. Rehabilitation? Parole? A myth, a joke. Brutes cannot be corrected. Petty thieves are not worth correcting (in their case punishment suffices). Nowadays, certain deplorable trends are current in soi-disant liberal circles. To put it concisely a killer who sees himself as a victim is not only a murderer but a moron." .
"I think I must go," said poor stolid Wilde.
"Mental hospitals, wards, asylums, all that is also familiar to me. To live in a ward in a heap with thirty or so incoherent idiots is hell. I faked violence in order to get a solitary cell or to be locked up in the damned hospital's security wing, ineffable paradise for this kind of patient. My only chance to remain sane was by appearing subnormal. The way was thorny. A handsome and hefty nurse liked to hit me one forehand slap sandwiched between two backhand ones - and I returned to blessed solitude. I should add that every time my case came up, the prison psychiatrist testified that I refused to discuss what he called in his professional jargon 'conjugal sex.' I am sadly happy to say, sadly proud, too, that neither the guards (some of them humane and witty) nor the Freudian inquisitors (all of them fools or frauds) broke or otherwise changed the sad person I am."
Monsieur Wilde, taking him for a drunk or madman, had lumbered away. The pretty receptionist (flesh is flesh, the red sting is l'aiguillon rouge, and my love would not mind) had begun to signal again. He got up and walked to her desk. The Stresa hotel was undergoing repairs after a fire. Mais (pretty index erect) -
All his life, we are glad to note, our Person had experienced the curious sensation (known to three famous theologians and two minor poets) of there existing behind him - at his shoulder, as it were - a larger, incredibly wiser, calmer and stronger stranger, morally better than he. This was, in fact, his main "umbral companion" (a clownish critic had taken R. to task for that epithet) and had he been without that transparent shadow, we would not have bothered to speak about our dear Person. During the short stretch between his chair in the lounge and the girl's adorable neck, plump lips, long eyelashes, veiled charms. Person was conscious of something or somebody warning him that he should leave Witt there and then for Verona, Florence, Rome, Taormina, if Stresa was out. He did not heed his shadow, and fundamentally he may have been right. We thought that he had in him a few years of animal pleasure; we were ready to waft that girl into his bed, but after all it was for him to decide, for him to die, if he wished.
Mais! (a jot stronger than "but" or even "however") she had some good news for him. He had wanted to move to Floor Three, hadn't he? He could do so tonight. The lady with the little dog was leaving before dinner. It was a history rather amusing. It appeared that her husband looked after dogs when their masters had to absent themselves. The lady, when she voyaged herself, generally took with her a small animal, choosing from among those that were most melancholic. This morning her husband telephoned that the owner had returned earlier from his trip and was reclaiming his pet with great cries. (Chapter 25)
Eight years ago Hugh Person, while dreaming of Julia Moore (Mr. R.’ stepdaughter whom in his dream Hugh Person struggled to save from falling to her death), strangled his wife Armande in his sleep. In The Ballad of Reading Gaol (1898) Oscar Wilde says that each man kills the thing he loves:
Yet each man kills the thing he loves,
By each let this be heard,
Some do it with a bitter look,
Some with a flattering word,
The coward does it with a kiss,
The brave man with a sword!
Some kill their love when they are young,
And some when they are old;
Some strangle with the hands of Lust,
Some with the hands of Gold:
The kindest use a knife, because
The dead so soon grow cold.
In The Duchess of Padua (1891), Oscar Wilde's five-act tragedy in blank verse, the Duchess says: 'We are each our own devil, and we make this world our hell:'
Duchess [rising suddenly]
No, no,
We are each our own devil, and we make
This world our hell.
Guido
Then let high Paradise
Fall into Tartarus! for I shall make
This world my heaven for a little space.
The sin was mine, if any sin there was. (Act V)
In his poem Prozerpina (“Proserpine,” 1824) Pushkin mentions svody Tartara (the vaults of Tartarus):
Плещут волны Флегетона,
Своды Тартара дрожат,
Кони бледного Плутона
Быстро к нимфам Пелиона
Из аида бога мчат.
The waves of the Phlegethon splash,
The vaults of Tartarus tremble,
Pale Pluto’s horses
Quickly to the nymphs of Pelion
Rush the god from Hades.
One of the five rivers in the infernal regions of underworld, the Phlegethon is a stream of fire (as described by Plato) which coils round the earth and flows into the depths of Tartarus. Hugh Person dies (chokes to death) in a hotel fire. In Dante's Inferno the Phlegethon is described as a river of blood that boils souls. It is in the Seventh Circle of Hell, which punishes those who committed crimes of violence against their fellow men; murderers, tyrants, and the like. The third and final part of Dante's Divine Comedy (1308-21) is entitled Paradiso. In the lounge of the Ascot Hotel Hugh Person tells Monsieur Wilde: 'To live in a ward in a heap with thirty or so incoherent idiots is hell. I faked violence in order to get a solitary cell or to be locked up in the damned hospital's security wing, ineffable paradise for this kind of patient.' The transparent narrators in VN's novel seem to be the devils ('We are each our own devil, and we make this world our hell').
On the other hand, 'Monsieur Wilde' may hint at Le Portrait de Monsieur W. H., the French title of Oscar Wilde's story The Portrait of Mr. W. H. (1889). The story is about an attempt to uncover the identity of Mr. W. H., the enigmatic dedicatee of Shakespeare's Sonnets. It is based on a theory, originated by Thomas Tyrwhitt, that the sonnets were addressed to one Willie Hughes, portrayed in the story as a boy actor who specialized in playing women in Shakespeare's company.
The initials T. T. at the bottom of the dedication belong to Thomas Thorpe, the publisher of Shakespeare's Sonnets (the over-rhetorical wording is evidently Thorpe's). They also would suit "Tom Tam," as in his last letter to his publisher Mr. R. calls his secretary, Mr. Tamworth (the Tamworth is a British breed of domestic pig; tam is Russian for "there"):
Dear Phil,
This, no doubt, is my last letter to you. I am leaving you. I am leaving you for another even greater Publisher. In that House I shall be proofread by cherubim - or misprinted by devils, depending on the department my poor soul is assigned to. So adieu, dear friend, and may your heir auction this off most profitably.
Its holographical nature is explained by the fact that I prefer it not to be read by Tom Tam or one of his boy typists. I am mortally sick after a botched operation in the only private room of a Bolognese hospital. The kind young nurse who will mail it has told me with dreadful carving gestures something I paid her for as generously as I would her favors if I still were a man. Actually the favors of death knowledge are infinitely more precious than those of love. According to my almond-eyed little spy, the great surgeon, may his own liver rot, lied to me when he declared yesterday with a deathhead's grin that the operazione had been perfetta. Well, it had been so in the sense Euler called zero the perfect number. Actually, they ripped me open, cast one horrified look at my decayed fegato, and without touching it sewed me up again.
I shall not bother you with the Tamworth problem. You should have seen the smug expression of the oblong fellow's bearded lips when he visited me this morning. As you know - as everybody, even Marion, knows - he gnawed his way into all my affairs, crawling into every cranny, collecting every German-accented word of mine, so that now he can boswell the dead man just as he had bossed very well the living one. I am also writing my and your lawyer about the measures I would like to be taken after my departure in order to thwart Tamworth at every turn of his labyrinthian plans.
The only child I have ever loved is the ravishing, silly, treacherous little Julia Moore. Every cent and centime I possess as well as all literary remains that can be twisted out of Tamworth's clutches must go to her, whatever the ambiguous obscurities contained in my will: Sam knows what I am hinting at and will act accordingly. (Chapter 21)
Judging by the gross mistake in the novel's last sentence (“Easy, you know, does it, son”), Mr. R. goes straight to hell where he is misprinted by devils. In his Foreword to Shade's poem Kinbote (in VN’s novel Pale Fire, 1962, Shade’s mad commentator who imagines that he is Charles the Beloved, the last self-exiled king of Zembla) calls himself "the beholder and only begetter, whose own past intercoils with the fate of the innocent author:"
Immediately after my dear friend's death I prevailed on his distraught widow to forelay and defeat the commercial passions and academic intrigues that were bound to come swirling around her husband's manuscript (transferred by me to a safe spot even before his body had reached the grave) by signing an agreement to the effect that he had turned over the manuscript to me; that I would have it published, without delay, with my commentary by a firm of my choice; that all profits, except the publisher's percentage, would accrue to her; and that on publication day the manuscript would be handed over to the Library of Congress for permanent preservation. I defy any serious critic to find this contract unfair. Nevertheless, it has been called (by Shade's former lawyer) "a fantastic farrago of evil," while another person (his former literary agent) has wondered with a sneer if Mrs. Shade's tremulous signature might not have been penned "in some peculiar kind of red ink." Such hearts, such brains, would be unable to comprehend that one's attachment to a masterpiece may be utterly overwhelming, especially when it is the underside of the weave that entrances the beholder and only begetter, whose own past intercoils there with the fate of the innocent author.
In Canto Four of his poem Shade calls his poem "this transparent thingum" and asks Shakespeare to help him find a title for it:
Dim Gulf was my first book (free verse); Night Rote
Came next; then Hebe's Cup, my final float
in that damp carnival, for now I term
Everything "Poems," and no longer squirm.
(But this transparent thingum does require
Some moondrop title. Help me, Will! Pale Fire.) (ll. 957-952)
According to Vera Nabokov, the Russian title of Transparent Things should have been Skvoznyak is proshlogo ("A Draft from the Past"). In his poem Nerodivshemusya chitatelyu ("To an Unborn Reader," 1930) VN addresses a lucid inhabitant of the future centuries, mentions his own blurred photograph in an oval crowning the sixteen lines in an old anthology of thoroughly forgotten verses and, in the poem's closing lines, compares the feeling experienced by the reader to "a draft from the past:"
Ты, светлый житель будущих веков,
ты, старины любитель, в день урочный
откроешь антологию стихов,
забытых незаслуженно, но прочно.
И будешь ты, как шут, одет на вкус
моей эпохи фрачной и сюртучной.
Облокотись. Прислушайся. Как звучно
былое время -- раковина муз.
Шестнадцать строк, увенчанных овалом
с неясной фотографией... Посмей
побрезговать их слогом обветшалым,
опрятностью и бедностью моей.
Я здесь с тобой. Укрыться ты не волен.
К тебе на грудь я прянул через мрак.
Вот холодок ты чувствуешь: сквозняк
из прошлого... Прощай же. Я доволен.
It seems that the action in Transparent Things takes place in the summer (in the first days of August) of 1973, i. e. in the future (VN's novel appeared in 1972). At the beginning of Transparent Things the narrators say that the future does not exist:
Here's the person I want. Hullo, person! Doesn't hear me.
Perhaps if the future existed, concretely and individually, as something that could be discerned by a better brain, the past would not be so seductive: its demands would be balanced by those of the future. Persons might then straddle the middle stretch of the seesaw when considering this or that object. It might be fun.
But the future has no such reality (as the pictured past and the perceived present possess); the future is but a figure of speech, a specter of thought.
Hullo, person! What's the matter, don't pull me. I'm not bothering him. Oh, all right. Hullo, person . . . (last time, in a very small voice).
When we concentrate on a material object, whatever its situation, the very act of attention may lead to our involuntarily sinking into the history of that object. Novices must learn to skim over matter if they want matter to stay at the exact level of the moment. Transparent things, through which the past shines!
Man-made objects, or natural ones, inert in themselves but much used by careless life (you are thinking, and quite rightly so, of a hillside stone over which a multitude of small animals have scurried in the course of incalculable seasons) are particularly difficult to keep in surface focus: novices fall through the surface, humming happily to themselves, and are soon reveling with childish abandon in the story of this stone, of that heath. I shall explain. A thin veneer of immediate reality is spread over natural and artificial matter, and whoever wishes to remain in the now, with the now, on the now, should please not break its tension film. Otherwise the inexperienced miracle-worker will find himself no longer walking on water but descending upright among staring fish. More in a moment. (Chapter 1)
According to Oscar Wilde, every saint has a past, and every sinner has a future. In the seventh poem of Alexander Blok's cycle Zhizn' moego priyatelya ("The Life of My Pal," 1914) the devils speak: Greshi, poka tebya volnuyut / tvoi nevinnye grekhi ("Do sin, while your innocent sins still excite you"):
Греши, пока тебя волнуют
Твои невинные грехи,
Пока красавицу колдуют
Твои греховные стихи.
На утешенье, на забаву
Пей искрометное вино,
Пока вино тебе по нраву,
Пока не тягостно оно.
Сверкнут ли дерзостные очи —
Ты их сверканий не отринь,
Грехам, вину и страстной ночи
Шепча заветное «аминь».
Ведь всё равно — очарованье
Пройдет, и в сумасшедший час
Ты, в исступленном покаяньи,
Проклясть замыслишь бедных, нас.
И станешь падать — но толпою
Мы все, как ангелы, чисты,
Тебя подхватим, чтоб пятою
О камень не преткнулся ты…
Should the daring eyes sparkle at you,
do not reject their sparkling,
whispering "amen"
to sins, wine and the amorous night.
...And you'll begin to fall, but in a crowd
we all, pure as angels,
shall pick you up in order to prevent
you to stumble on the stone...
See why Hugh Person does not fall from the burning window of his hotel room, as one would expect him to do?