Describing his first night with Lolita in The Enchanted Hunters (a hotel in Briceland), Humbert Humbert (the narrator and main character in VN’s novel Lolita, 1955) says that he has but followed nature and calls himself "nature’s faithful hound:"
I am trying to describe these things not to relive them in my present boundless misery, but to sort out the portion of hell and the portion of heaven in that strange, awful, maddening world - nymphet love. The beastly and beautiful merged at one point, and it is that borderline I would like to fix, and I feel I fail to do so utterly. Why?
The stipulation of the Roman law, according to which a girl may marry at twelve, was adopted by the Church, and is still preserved, rather tacitly, in some of the United States. And fifteen is lawful everywhere. There is nothing wrong, say both hemispheres, when a brute of forty, blessed by the local priest and bloated with drink, sheds his sweat-drenched finery and thrusts himself up to the hilt into his youthful bride. “In such stimulating temperate climates [says an old magazine in this prison library] as St. Louis, Chicago and Cincinnati, girls mature about the end of their twelfth year.” Dolores Haze was born less than three hundred miles from stimulating Cincinnati. I have but followed nature. I am nature’s faithful hound. Why then this horror that I cannot shake off? Did I deprive her of her flower? Sensitive gentlewomen of the jury, I was not even her first lover. (1.31)
Lolita's first lover was Charlie Holmes, the son of Shirley Holmes (the campmistress of Camp Q). "Nature's faithful hound" brings to mind Conan Doyle's novel (featuring the private detective Sherlock Holmes) The Hound of the Baskervilles (1902). The characters in Conan Doyle's story The Captain of the Pole-Star (1883) include Dr. John M'Alister Ray, senior (the author of the note appended to the story).
In Ray Zemnoy ili Son v zimnyuyu noch' ("The Earthly Paradise, or a Midwinter Night's Dream," 1903), an utopian novel by Konstantin Merezhkovski (a biologist and botanist who loved little girls, 1855-1921) set in the 27th century on a Polynesian island, Ezrar (the old Protector) accuses the past generations of debasing human nature:
А затем, прибавил он, несколько возвышая голос, знайте, что мы, покровители, являемся не только носителями знания, хранителями опыта человеческого, но также и носителями нравственных начал, и во имя их мы никогда бы не допустили и не допустим совершиться такой вопиющей несправедливости, в какой вы нас заподозрили!
Было, правда, некогда совершено преступление, страшное преступление, во сто крат большее, чем то, в котором вы нас упрекнули, но оно было совершено не нами, а знаете кем? — вами, нашими обвинителями! Это вы втаптывали в грязь, вы попирали ногами, вы унижали человеческую природу, и не одной половины, а целых девяти десятых человечества для того, чтобы на широком фундаменте, сложенном из сотен миллионов человеческих существ воздвигнуть красивое здание вашей роскошной цивилизации, для того чтобы, опираясь на него, наслаждаться довольством, наукой, изящной чистотой, приятно щекотать свои нервы зрения, слуха, обоняния даже осязания. (Day One, Chapter IV)
Ezrar mentions the nerves of four senses (vision, hearing, smell and touch; symptomatically, Ezrar does not mention the fifth sense, taste). Describing the morning after his first night with Lolita, Humbert says that every nerve in him was still anointed and ringed with the feel of Lolita's body:
Everything was fine. There, in the lobby, she sat, deep in an overstuffed blood-red armchair, deep in a lurid movie magazine. A fellow of my age in tweeds (the genre of the place had changed overnight to a spurious country-squire atmosphere) was staring at my Lolita over his dead cigar and stale newspaper. She wore her professional white socks and saddle oxfords, and that bright print frock with the square throat; a splash of jaded lamplight brought out the golden down on her warm brown limbs. There she sat, her legs carelessly highcrossed, and her pale eyes skimming along the lines with every now and then a blink. Bill’s wife had worshipped him from afar long before they ever met: in fact, she used to secretly admire the famous young actor as he ate sundaes in Schwab’s drugstore. Nothing could have been more childish than her snubbed nose, freckled face or the purplish spot on her naked neck where a fairytale vampire had feasted, or the unconscious movement of her tongue exploring a touch of rosy rash around her swollen lips; nothing could be more harmless than to read about Jill, an energetic starlet who made her own clothes and was a student of serious literature; nothing could be more innocent than the part in that glossy brown hair with that silky sheen on the temple; nothing could be more naive - But what sickening envy the lecherous fellow whoever he was - come to think of it, he resembled a little my Swiss uncle Gustave, also a great admirer of le découvert would have experienced had he known that every nerve in me was still anointed and ringed with the feel of her body - the body of some immortal demon disguised as a female child. (1.32)
At the end of his manuscript Humbert uses the phrase "nerve by nerve:"
This then is my story. I have reread it. It has bits of marrow sticking to it, and blood, and beautiful bright-green flies. At this or that twist of it I feel my slippery self eluding me, gliding into deeper and darker waters than I care to probe. I have camouflaged what I could so as not to hurt people. And I have toyed with many pseudonyms for myself before I hit on a particularly apt one. There are in my notes “Otto Otto” and “Mesmer Mesmer” and “Lambert Lambert,” but for some reason I think my choice expresses the nastiness best.
When I started, fifty-six days ago, to write Lolita, first in the psychopathic ward for observation, and then in this well-heated, albeit tombal, seclusion, I thought I would use these notes in toto at my trial, to save not my head, of course, but my soul. In mid-composition, however, I realized that I could not parade living Lolita. I still may use parts of this memoir in hermetic sessions, but publication is to be deferred.
For reasons that may appear more obvious than they really are, I am opposed to capital punishment; this attitude will be, I trust, shared by the sentencing judge. Had I come before myself, I would have given Humbert at least thirty-five years for rape, and dismissed the rest of the charges. But even so, Dolly Schiller will probably survive me by many years. The following decision I make with all the legal impact and support of a signed testament: I wish this memoir to be published only when Lolita is no longer alive.
Thus, neither of us is alive when the reader opens this book. But while the blood still throbs through my writing hand, you are still as much part of blessed matter as I am, and I can still talk to you from here to Alaska. Be true to your Dick. Do not let other fellows touch you. Do not talk to strangers. I hope you will love your baby. I hope it will be a boy. That husband of yours, I hope, will always treat you well, because otherwise my specter shall come at him, like black smoke, like a demented giant, and pull him apart nerve by nerve. And do not pity C. Q. One had to choose between him and H. H., and one wanted H. H. to exist at least a couple of months longer, so as to have him make you live in the minds of later generations. I am thinking of aurochs and angels, the secret of durable pigments, prophetic sonnets, the refuge of art. And this is the only immortality you and I may share, my Lolita. (2.36)
According to John Ray, Jr. (the author of the Foreword to Humbert's manuscript), Mrs. “Richard F. Schiller” (Lolita's married name) outlived Humbert (who had died in legal captivity, of coronary thrombosis, on November 16, 1952, a few days before his trial was scheduled to start) by forty days and died in childbed, giving birth to a stillborn girl, on Christmas Day 1952, in Gray Star, a settlement in the remotest Northwest:
“Lolita, or the Confession of a White Widowed Male,” such were the two titles under which the writer of the present note received the strange pages it preambulates. “Humbert Humbert,” their author, had died in legal captivity, of coronary thrombosis, on November 16, 1952, a few days before his trial was scheduled to start. His lawyer, my good friend and relation, Clarence Choate Clark, Esq., now of he District of Columbia bar, in asking me to edit the manuscript, based his request on a clause in his client’s will which empowered my eminent cousin to use the discretion in all matters pertaining to the preparation of “Lolita” for print. Mr. Clark’s decision may have been influenced by the fact that the editor of his choice had just been awarded the Poling Prize for a modest work (“Do the Senses make Sense?”) wherein certain morbid states and perversions had been discussed.
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 maskthrough which two hypnotic eyes seem to glowhad 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 remain a complete mystery, had not this memoir been permitted to come under my reading lamp.
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,” of “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 settlement 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.
But it seems that, actually, Lolita dies of ague on July 4, 1949, in the Elphinstone hospital. Everything what happens after her sudden death (Lolita's escape from the hospital, Humbert's affair with Rita, Lolita's marriage and pregnancy, and the murder of Clare Quilty) was invented by Humbert Humbert (whose "real" name is John Ray, Jr.).
Vernyi pyos prirody, as in the Russian Lolita (1967) VN renders "nature's faithful hound," brings to mind staryi pyos (an old dog) mentioned by Shchyogolev (Zina Mertz's stepfather, Fyodor's landlord) in VN's novel Dar ("The Gift," 1937):
Однажды, заметив исписанные листочки на столе у Федора Константиновича, он сказал, взяв какой-то новый, прочувствованный тон: «Эх, кабы у меня было времячко, я бы такой роман накатал… Из настоящей жизни. Вот представьте себе такую историю: старый пес, – но еще в соку, с огнем, с жаждой счастья, – знакомится с вдовицей, а у нее дочка, совсем еще девочка, – знаете, когда еще ничего не оформилось, а уже ходит так, что с ума сойти. Бледненькая, легонькая, под глазами синева, – и конечно на старого хрыча не смотрит. Что делать? И вот, недолго думая, он, видите ли, на вдовице женится. Хорошо-с. Вот, зажили втроем. Тут можно без конца описывать – соблазн, вечную пыточку, зуд, безумную надежду. И в общем – просчет. Время бежит-летит, он стареет, она расцветает, – и ни черта. Пройдет, бывало, рядом, обожжет презрительным взглядом. А? Чувствуете трагедию Достоевского? Эта история, видите ли, произошла с одним моим большим приятелем, в некотором царстве, в некотором самоварстве, во времена царя Гороха. Каково?» – и Борис Иванович, обратя в сторону темные глаза, надул губы и издал меланхолический лопающийся звук.
Once, when he had noticed some written-up sheets of paper on Fyodor’s desk, he said, adopting a new heartfelt tone of voice: “Ah, if only I had a tick or two, what a novel I’d whip off! From real life. Imagine this kind of thing: an old dog—but still in his prime, fiery, thirsting for happiness—gets to know a widow, and she has a daughter, still quite a little girl—you know what I mean—when nothing is formed yet but already she has a way of walking that drives you out of your mind—A slip of a girl, very fair, pale, with blue under the eyes—and of course she doesn’t even look at the old goat. What to do? Well, not long thinking, he ups and marries the widow. Okay. They settle down the three of them. Here you can go on indefinitely—the temptation, the eternal torment, the itch, the mad hopes. And the upshot—a miscalculation. Time flies, he gets older, she blossoms out—and not a sausage. Just walks by and scorches you with a look of contempt. Eh? D’you feel here a kind of Dostoevskian tragedy? That story, you see, happened to a great friend of mine, once upon a time in fairyland when Old King Cole was a merry old soul,” and Boris Ivanovich, turning his dark eyes away, pursed his lips and emitted a melancholy, bursting sound. (Chapter Three)
Appended to Merezhkovski's Ray Zemnoy ili Son v zimnyuyu noch' is "The Legend of the Grand Inquisitor," a philosophical story within a story in Dostoevski's novel Brothers Karamazov (1880). Konstantin Merezhkovski committed suicide on January 9, 1921, in Geneva. In his poem On the Anniversary of Dostoevski's Death (Nov. 6, 1921) VN mentions pyosiy trup (the corps of a dog):
Садом шёл Христос с учениками.
Меж кустов, на солнечном песке,
Вытканном павлиньими глазками,
Пёсий труп лежал невдалеке.
И резцы блестели из-под чёрной
Складки. И зловонным торжеством
Смерти заглушен был ладан сладкий
Теплых миртов, млеющих кругом.
Труп гниющий, мерзостный, надулся,
Полный слизких, слипшихся червей...
Иоанн, как дева, отвернулся,
Сгорбленный поморщился Матвей.
Говорил апостолу апостол:
«Злой был пёс, и смерть его нага,
Мерзостна...» Христос же молвил просто:
«Зубы у него - как жемчуга».