According to 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), the name Zembla is a corruption not of the Russian zemlya, but of Semblerland, a land of reflections, of "resemblers:"
Pictures of the King had not infrequently appeared in America during the first months of the Zemblan Revolution. Every now and then some busybody on the campus with a retentive memory, or one of the clubwomen who were always after Shade and his eccentric friend, used to ask me with the inane meaningfulness adopted in such cases if anybody had told me how much I resembled that unfortunate monarch. I would counter with something on the lines of "all Chinese look alike" and change the subject. One day, however, in the lounge of the Faculty Club where I lolled surrounded by a number of my colleagues, I had to put up with a particularly embarrassing onset. A visiting German lecturer from Oxford kept exclaiming, aloud and under his breath, that the resemblance was "absolutely unheard of," and when I negligently observed that all bearded Zemblans resembled one another - and that, in fact, the name Zembla is a corruption not of the Russian zemlya, but of Semblerland, a land of reflections, of "resemblers" - my tormentor said: "Ah, yes, but King Charles wore no beard, and yet it is his very face! I had [he added] the honor of being seated within a few yards of the royal box at a Sport Festival in Onhava which I visited with my wife, who is Swedish, in 1956. We have a photograph of him at home, and her sister knew very well the mother of one of his pages, an interesting woman. Don't you see [almost tugging at Shade's lapel] the astounding similarity of features - of the upper part of the face, and the eyes, yes, the eyes, and the nose bridge?" (note to Line 894)
In VN's novel Dar ("The Gift," 1937) Fyodor twice imagines a dialogue with Koncheyev (a rival poet). In the first of these dialogues Fyodor mentions an amazing resemblance:
"... Но постойте, постойте, я вас провожу. Вы, поди, полунощник, и не мне, стать, учить вас черному очарованию каменных прогулок. Так вы не слушали бедного чтеца?"
"В начале только - и то в полуха. Однако я вовсе не думаю, что это было так уж скверно".
"Вы рассматривали персидские миниатюры. Не заметили ли вы там одной - разительное сходство! - из коллекции петербургской публичной библиотеки - ее писал, кажется, Riza Abbasi, лет триста тому назад: на коленях, в борьбе с драконятами, носатый, усатый... Сталин".
They said good-by. “Brr, what a wind!”
“Wait, wait a minute though—I’ll see you home. Surely you’re a night owl like me and I don’t have to expound to you on the black enchantment of stone promenades. So you didn’t listen to our poor lecturer?”
“Only at the beginning, and then only with half an ear. However, I don’t think it was quite as bad as that.”
“You were examining Persian miniatures in a book. Did you not notice one—an amazing resemblance!—from the collection of the St. Petersburg Public Library—done, I think, by Riza Abbasi, say about three hundred years ago: that man kneeling, struggling with baby dragons, big-nosed, mustachioed—Stalin!”
Shade’s murderer, Jakob Gradus is a member of the Shadows (a regicidal organization). The terrible name of the leader of the Shadows that cannot be mentioned, even in the Index to the obscure work of a scholar, seems to be Stalin.
The second time a person whom Fyodor imagines to be Koncheyev turns out to be a young German who resembles Koncheyev:
"Herrliches Wetter, -- in der Zeitung steht es aber, dass es morgen bestimmt regnen wird", -- проговорил, наконец, сидящий на скамье, рядом с Федором Константиновичем молодой немец, показавшийся ему похожим на Кончеева.
Опять, значит, воображение, -- а как жаль! Даже покойную мать ему придумал для приманки действительности... Почему разговор с ним никак не может распуститься явью, дорваться до осуществления? Или это и есть осуществление, и лучшего не нужно... -- так как подлинная беседа была бы только разочарованием, -- пеньками запинок, жмыхами хмыканья, осыпью мелких слов?
"Da kommen die Wolken schon", -- продолжал кончеевовидный немец, указывая пальцем полногрудое облако, поднимавшееся с запада. (Студент, пожалуй. Может быть, с философской или музыкальной прожилкой. Где теперь Яшин приятель? Вряд ли сюда заглядывает).
"Halb fünf ungefähr", -- добавил он на вопрос Федора Константиновича и, забрав свою трость, покинул скамейку. Его темная, сутулая фигура удалилась по тенистой тропе. (Может быть, поэт? Ведь есть же в Германии поэты. Плохенькие, местные, -- но всё-таки, не мясники. Или только гарнир к мясу?).
“Herrliches Wetter—in der Zeitung steht es aber, dass es morgen bestimmt regnen wird,” said finally the young German who was sitting beside Fyodor on the bench and who had seemed to him to resemble Koncheyev.
Imagination again—but what a pity! I had even thought up a dead mother for him in order to trap truth…. Why can a conversation with him never blossom out into reality, break through to realization? Or is this a realization, and nothing better is needed… since a real conversation would be only disillusioning—with the stumps of stuttering, the chaff of hemming and hawing, the debris of small words?
“Da kommen die Wolken schon,” continued the Koncheyevoid German, pointing his finger at a full-breasted cloud rising in the west. (A student, most probably. Perhaps with a philosophical or musical vein. Where is Yasha’s friend now? He would hardly be likely to come here.)
“Halb fünf ungefähr,” he added in response to Fyodor’s question, and gathering his cane he left the bench. His dark, stooping figure receded along the shady footpath. (Perhaps a poet? After all, there must be poets in Germany. Puny ones, local ones—but all the same not butchers. Or only a garnish for the meat?) (Chapter Five)
A question that Fyodor asked the Koncheyevoid German, wie spät ist es (what is the time), brings to mind kot or (a play on kotoryi chas, "what is the time" in Russian), a phrase used by Kinbote when he describes the King's escape from Zembla:
A handshake, a flash of lightning. As the King waded into the damp, dark bracken, its odor, its lacy resilience, and the mixture of soft growth and steep ground reminded him of the times he had picnicked hereabouts - in another part of the forest but on the same mountainside, and higher up, as a boy, on the boulderfield where Mr. Campbell had once twisted an ankle and had to be carried down, smoking his pipe, by two husky attendants. Rather dull memories, on the whole. Wasn't there a hunting box nearby - just beyond Silfhar Falls? Good capercaillie and woodcock shooting - a sport much enjoyed by his late mother, Queen Blenda, a tweedy and horsy queen. Now as then, the rain seethed in the black trees, and if you paused you heard your heart thumping, and the distant roar of the torrent. What is the time, kot or? He pressed his repeater and, undismayed, it hissed and tinkled out ten twenty-one. (note to Line 149)
Halb fünf ungefähr (the Koncheyevoid German's reply to Fyodor's question) means "about half to five." In his famous epigram (1824) on Count Vorontsov (the Governor of New Russia, Pushkin's boss in Odessa) Pushkin uses the prefix polu- (half-) five times:
Полу-милорд, полу-купец,
Полу-мудрец, полу-невежда,
Полу-подлец, но есть надежда,
Что будет полным наконец.
Half-milord, half-merchant,
Half-sage, half-ignoramus,
Half-scoundrel, but there's a hope
That he will be a full one at last.
In The Gift Fyodor calls Zina Mertz "half-Mnemosyne" and "half-fantasy" and mentions a half-shimmer in her surname:
Как звать тебя? Ты полу-Мнемозина, полу-мерцанье в имени твоем, – и странно мне по сумраку Берлина с полувиденьем странствовать вдвоем. Но вот скамья под липой освещенной… Ты оживаешь в судорогах слез: я вижу взор сей жизнью изумленный и бледное сияние волос. Есть у меня сравненье на примете, для губ твоих, когда целуешь ты: нагорный снег, мерцающий в Тибете, горячий ключ и в инее цветы. Ночные наши, бедные владения, – забор, фонарь, асфальтовую гладь – поставим на туза воображения, чтоб целый мир у ночи отыграть! Не облака – а горные отроги; костер в лесу, – не лампа у окна… О поклянись, что до конца дороги ты будешь только вымыслу верна…
What shall I call you? Half-Mnemosyne? There's a half-shimmer in your surname too. In dark Berlin, it is so strange to me to roam, oh, my half-fantasy, with you. A bench stands under the translucent tree. Shivers and sobs reanimate you there, and all life's wonder in your gaze I see, and see the pale fair radiance of your hair. In honor of your lips when they kiss mine I might devise a metaphor some time: Tibetan mountain-snows, their glancing shine, and a hot spring near flowers touched with rime. Our poor nocturnal property-that wet asphaltic gloss, that fence and that street light-upon the ace of fancy let us set to win a world of beauty from the night. Those are not clouds-but star-high mountain spurs; not lamplit blinds-but camplight on a tent! O swear to me that while the heartblood stirs, you will be true to what we shall invent. (Chapter Three)
Zina shows to Fyodor her photographs:
Несколько минут молчания. Уже зажигались фонари, витрины; от незрелого света улицы осунулись и поседели, а небо было светло, широко, в облачках, отороченных фламинговым пухом. "Смотри, готовы фоточки".
Он их взял из ее холодных пальцев. Зина на улице, перед конторой, прямая и светлая, с тесно составленными ногами, и тень липового ствола поперек панели, как опущенный перед ней шлагбаум; Зина, боком сидящая на подоконнике с солнечным венцом вокруг головы; Зина за работой, плохо вышедшая, темнолицая, -- зато на первом плане -- царственная машинка, с блеском на рычажке каретки.
Several minutes of silence. The streetlamps and shop windows were beginning to light up; the streets had grown pinched and gray from that immature light, but the sky was radiant and wide, and the sunset cloudlets were trimmed with flamingo down.
“Look, the photos are ready.”
He took them from her cold fingers. Zina standing in the street before her office, with legs placed tightly together and the shadow of a lime trunk crossing the sidewalk, like a boom lowered in front of her; Zina sitting sideways on a windowsill with a crown of sunshine around her head; Zina at work, badly taken, dark-faced—but to compensate this, her regal typewriter enthroned in the foreground, with a gleam on its carriage lever. (Chapter Five)
The name of the mother of Charles the Beloved, Queen Blenda (a tweedy and horsy queen who loved hunting), seems to hint at blenda, the Russian word for 'lens hood' (or 'lens shade') used in photography. At the end of The Gift Zina's mother and Shchyogolev (Zina's step-father) leave Berlin for Copenhagen (where Shchyogolev was offered a job). On July 5, 1959, Gradus leaves Onhava (the capital of Zembla) on the Copenhagen plane:
Lines 1-4: I was the shadow of the waxwing slain, etc.
The image in these opening lines evidently refers to a bird knocking itself out, in full flight, against the outer surface of a glass pane in which a mirrored sky, with its slightly darker tint and slightly slower cloud, presents the illusion of continued space. We can visualize John Shade in his early boyhood, a physically unattractive but otherwise beautifully developed lad, experiencing his first eschatological shock, as with incredulous fingers he picks up from the turf that compact ovoid body and gazes at the wax-red streaks ornamenting those gray-brown wings and at the graceful tail feathers tipped with yellow as bright as fresh paint. When in the last year of Shade's life I had the fortune of being his neighbor in the idyllic hills of New Wye (see Foreword), I often saw those particular birds most convivially feeding on the chalk-blue berries of junipers growing at the corner of his house. (See also lines 181-182.)
My knowledge of garden Aves had been limited to those of northern Europe but a young New Wye gardener, in whom I was interested (see note to line 998), helped me to identify the profiles of quite a number of tropical-looking little strangers and their comical calls; and, naturally, every tree top plotted its dotted line toward the ornithological work on my desk to which I would gallop from the lawn in nomenclatorial agitation. How hard I found to fit the name "robin" to the suburban impostor, the gross fowl, with its untidy dull-red livery and the revolting gusto it showed when consuming long, sad, passive worms!
Incidentally, it is curious to note that a crested bird called in Zemblan sampel ("silktail"); closely resembling a waxwing in shape and shade, is the model of one of the three heraldic creatures (the other two being respectively a reindeer proper and a merman azure, crined or) in the armorial bearings of the Zemblan King, Charles the Beloved (born 1915), whose glorious misfortunes I discussed so often with my friend.
The poem was begun at the dead center of the year, a few minutes after midnight July 1, while I played chess with a young Iranian enrolled in our summer school; and I do not doubt that our poet would have understood his annotator's temptation to synchronize a certain fateful fact, the departure from Zembla of the would-be regicide Gradus, with that date. Actually, Gradus left Onhava on the Copenhagen plane on July 5.
July 5 is Shade's, Kinbote's and Gradus' birthday (while Shade was born in 1898, Kinbote and Gradus were born in 1915). At the end of his Commentary Kinbote mentions a million photographers and a bigger, more respectable, more competent Gradus:
"And you, what will you be doing with yourself, poor King, poor Kinbote?" a gentle young voice may inquire.
God will help me, I trust, to rid myself of any desire to follow the example of two other characters in this work. I shall continue to exist. I may assume other disguises, other forms, but I shall try to exist. I may turn up yet, on another campus, as an old, happy, healthy, heterosexual Russian, a writer in exile, sans fame, sans future, sans audience, sans anything but his art. I may join forces with Odon in a new motion picture: Escape from Zembla (ball in the palace, bomb in the palace square). I may pander to the simple tastes of theatrical critics and cook up a stage play, an old-fashioned Melodrama with three principals: a lunatic who intends to kill an imaginary king, another lunatic who imagines himself to be that king, and a distinguished old poet who stumbles by chance into the line of fire, and perishes in the clash between the two figments. Oh, I may do many things! History permitting, I may sail back to my recovered kingdom, and with a great sob greet the gray coastline and the gleam of a roof in the rain. I may huddle and groan in a madhouse. But whatever happens, wherever the scene is laid, somebody, somewhere, will quietly set out - somebody has already set out, somebody still rather far away is buying a ticket, is boarding a bus, a ship, a plane, has landed, is walking toward a million photographers, and presently he will ring at my door - a bigger, more respectable, more competent Gradus. (note to Line 1000)
The last paragraph of The Gift mimics a Eugene Onegin stanza:
Прощай же, книга! Для видений отсрочки смертной тоже нет. С колен поднимется Евгений, но удаляется поэт. И всё же слух не может сразу расстаться с музыкой, рассказу дать замереть... судьба сама ещё звенит, и для ума внимательного нет границы там, где поставил точку я: продлённый призрак бытия синеет за чертой страницы, как завтрашние облака, и не кончается строка.
Good-bye, my book! Like mortal eyes, imagined ones must close some day. Onegin from his knees will rise - but his creator strolls away. And yet the ear cannot right now part with the music and allow the tale to fade; the chords of fate itself continue to vibrate; and no obstruction for the sage exists where I have to put The End: the shadows of my world extend beyond the skyline of the page, blue as tomorrow's morning haze - nor does this terminate the phrase. (Chapter Five)
The Zemblan name of Zembla, Semblerland brings to mind è sempre bene ("it is always good" in Italian), a phrase used by Pushkin in Chapter Eight (XXXV: 14) of EO:
Стал вновь читать он без разбора.
Прочёл он Гиббона, Руссо,
Манзони, Гердера, Шамфора,
Madame de Staël, Биша, Тиссо,
Прочёл скептического Беля,
Прочёл творенья Фонтенеля,
Прочёл из наших кой-кого,
Не отвергая ничего,
И альманахи, и журналы,
Где поученья нам твердят,
Где нынче так меня бранят,
А где такие мадригалы
Себе встречал я иногда:
E sempre bene, господа.
Again, without discrimination,
he started reading. He read Gibbon,
Rousseau, Manzoni, Herder,
Chamfort, Mme de Staël, Bichat, Tissot.
He read the skeptic Bayle,
he read the works of Fontenelle,
he read some [authors] of our own,
without rejecting anything —
the “almanacs” and the reviews
where sermons into us are drummed,
where I'm today abused so much
but where such madrigals addressed to me
I used to meet with now and then:
e sempre bene, gentlemen.
In his poem On Translating "Eugene Onegin" (1955) written after the meter and rhyme scheme of the EO stanza VN mentions alliterations that haunt the great Fourth stanza of Canto Eight of EO:
1
What is translation? On a platter
A poet’s pale and glaring head,
A parrot’s screech, a monkey’s chatter,
And profanation of the dead.
The parasites you were so hard on
Are pardoned if I have your pardon,
O, Pushkin, for my stratagem:
I traveled down your secret stem,
And reached the root, and fed upon it;
Then, in a language newly learned,
I grew another stalk and turned
Your stanza patterned on a sonnet,
Into my honest roadside prose—
All thorn, but cousin to your rose.
2
Reflected words can only shiver
Like elongated lights that twist
In the black mirror of a river
Between the city and the mist.
Elusive Pushkin! Persevering,
I still pick up Tatiana's earring,
Still travel with your sullen rake.
I find another man's mistake,
I analyze alliterations
That grace your feasts and haunt the great
Fourth stanza of your Canto Eight.
This is my task—a poet's patience
And scholiastic passion blent:
Dove-droppings on your monument.
The parasites on whom Pushkin was so hard and who are pardoned, if VN has Pushkin's pardon, bring to mind "the monstrous parasite of a genius," as Sybil Shade (the poet's wife) called Kinbote:
From the very first I tried to behave with the utmost courtesy toward my friend's wife, and from the very first she disliked and distrusted me. I was to learn later that when alluding to me in public she used to call me "an elephantine tick; a king-sized botfly; a macaco worm; the monstrous parasite of a genius." I pardon her--her and everybody. (note to Line 247)
Among the people who participate in a conversation at the Faculty Club is Professor Pardon (American History):
Professor Pardon now spoke to me: "I was under the impression that you were born in Russia, and that your name was a kind of anagram of Botkin or Botkine?"
Kinbote: "You are confusing me with some refugee from Nova Zembla [sarcastically stressing the "Nova"].
"Didn't you tell me, Charles, that kinbote means regicide in your language?" asked my dear Shade.
"Yes, a king's destroyer," I said (longing to explain that a king who sinks his identity in the mirror of exile is in a sense just that).
Shade [addressing the German visitor]: "Professor Kinbote is the author of a remarkable book on surnames. I believe [to me] there exists an English translation?"
"Oxford, 1956," I replied.
"You do know Russian, though?" said Pardon. "I think I heard you, the other day, talking to--what's his name--oh, my goodness" [laboriously composing his lips].
Shade: "Sir, we all find it difficult to attack that name" [laughing].
Professor Hurley: "Think of the French word for 'tire': punoo."
Shade: "Why, sir, I am afraid you have only punctured the difficulty" [laughing uproariously].
"Flatman," quipped I. "Yes," I went on, turning to Pardon, "I certainly do speak Russian. You see, it was the fashionable language par excellence, much more so than French, among the nobles of Zembla at least, and at its court. Today, of course, all this has changed. It is now the lower classes who are forcibly taught to speak Russian." (note to Line 894)