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Pale Fire - Vladimir Nabokov [51]

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young man was found recuperating from his wounds at a provincial hospital. When Gradus learned of this, he flew into one of his rare rages—not because the fact presupposed royalist machinations, but because the clean, honest, orderly course of death had been interfered with in an unclean, dishonest, disorderly manner. Without consulting anybody he rushed to the hospital, stormed in, located Julius in a crowded ward and managed to fire twice, both times missing, before the gun was wrested from him by a hefty male nurse. He rushed back to headquarters and returned with a dozen soldiers but his patient had disappeared.

Such things rankle—but what can Gradus do? The huddled fates engage in a great conspiracy against Gradus. One notes with pardonable glee that his likes are never granted the ultimate thrill of dispatching their victim themselves. Oh, surely, Gradus is active, capable, helpful, often indispensable. At the foot of the scaffold, on a raw and gray morning, it is Gradus who sweeps the night’s powder snow off the narrow steps; but his long leathery face will not be the last one that the man who must mount those steps is to see in this world. It is Gradus who buys the cheap fiber valise that a luckier guy will plant, with a time bomb inside, under the bed of a former henchman. Nobody knows better than Gradus how to set a trap by means of a fake advertisement, but the rich old widow whom it hooks is courted and slain by another. When the fallen tyrant is tied, naked and howling, to a plank in the public square and killed piecemeal by the people who cut slices out, and eat them, and distribute his living body among themselves (as I read when young in a story about an Italian despot, which made of me a vegetarian for life), Gradus does not take part in the infernal sacrament: he points out the right instrument and directs the carving.

All this is as it should be; the world needs Gradus. But Gradus should not kill kings. Vinogradus should never, never provoke God. Leningradus should not aim his peashooter at people even in dreams, because if he does, a pair of colossally thick, abnormally hairy arms will hug him from behind and squeeze, squeeze, squeeze.

Line 172: books and people

In a black pocketbook that I fortunately have with me I find, jotted down, here and there, among various extracts that had happened to please me (a footnote from Boswell’s Life of Dr. Johnson, the inscriptions on the trees in Word-smith’s famous avenue, a quotation from St. Augustine, and so on), a few samples of John Shade’s conversation which I had collected in order to refer to them in the presence of people whom my friendship with the poet might interest or annoy. His and my reader will, I trust, excuse me for breaking the orderly course of these comments and letting my illustrious friend speak for himself.

Book reviewers being mentioned, he said: “I have never acknowledged printed praise though sometimes I longed to embrace the glowing image of this or that paragon of discernment; and I have never bothered to lean out of my window and empty my skoramis on some poor hack’s pate. I regard both the demolishment and the rave with like detachment.” Kinbote: “I suppose you dismiss the first as the blabber of a blockhead and the second as a kind soul’s friendly act?” Shade: “Exactly.”

Speaking of the Head of the bloated Russian Department, Prof. Pnin, a regular martinet in regard to his underlings (happily, Prof. Botkin, who taught in another department, was not subordinated to that grotesque “perfectionist”): “How odd that Russian intellectuals should lack all sense of humor when they have such marvelous humorists as Gogol, Dostoevski, Chekhov, Zoshchenko, and those joint authors of genius Ilf and Petrov.”

Talking of the vulgarity of a certain burly acquaintance of ours: “The man is as corny as a cook-out chef apron.” Kinbote (laughing): “Wonderful!”

The subject of teaching Shakespeare at college level having been introduced: “First of all, dismiss ideas, and social background, and train the freshman to shiver, to get drunk on the poetry

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