Pale Fire - Vladimir Nabokov [69]
They had now reached the swimming pool. Gradus, in deep thought, sank down on a canvas stool. He should wire headquarters at once. No need to prolong this visit. On the other hand, a sudden departure might look suspicious. The stool creaked under him and he looked around for another seat. The young woodwose had now closed his eyes and was stretched out supine on the pool’s marble margin; his Tarzan brief had been cast aside on the turf. Gradus spat in disgust and walked back towards the house. Simultaneously the elderly footman came running down the steps of the terrace to tell him in three languages that he was wanted on the telephone. Mr. Lavender could not make it after all but would like to talk to Mr. Degré. After an exchange of civilities there was a pause and Lavender asked: “Sure you aren’t a mucking snooper from that French rag?” “A what?” said Gradus, pronouncing the last word as “vot.” “A mucking snooping son of a bitch?” Gradus hung up.
He retrieved his car and drove up to a higher level on the hillside. From the same road bay, on a misty and luminous September day, with the diagonal of the first silver filament crossing the space between two balusters, the King had surveyed the twinkling ripples of Lake Geneva and had noted their antiphonal response, the flashing of tinfoil scares in the hillside vineyards. Gradus as he stood there, and moodily looked down at the red tiles of Lavender’s villa snuggling among its protective trees, could make out, with some help from his betters, a part of the lawn and a segment of the pool, and even distinguish a pair of sandals on its marble rim—all that remained of Narcissus. One assumes he wondered if he should not hang around for a bit to make sure he had not been bamboozled. From far below mounted the clink and tinkle of distant masonry work, and a sudden train passed between gardens, and a heraldic butterfly volant en arrière, sable, a bend gules, traversed the stone parapet, and John Shade took a fresh card.
Line 413: a nymph came pirouetting
In the draft there is the lighter and more musical:
413 A nymphet pirouetted
Lines 417-421: I went upstairs, etc.
The draft yields an interesting variant:
417 I fled upstairs at the first quawk of jazz
And read a galley proof: “Such verses as
‘See the blind beggar dance, the cripple sing,
The sot a hero, lunatic a king’
Smack of their heartless age.” Then came your call
This is, of course, from Pope’s Essay on Man. One knows not what to wonder at more: Pope’s not finding a monosyllable to replace “hero” (for example, “man”) so as to accommodate the definite article before the next word, or Shade’s replacing an admirable passage by the much flabbier final text. Or was he afraid of offending an authentic king? In pondering the near past I have never been able to ascertain retrospectively if he really had “guessed my secret,” as he once observed (see note to line 991).
Line 426: Just behind (one oozy footstep) Frost
The reference is, of course, to Robert Frost (b. 1874). The line displays one of those combinations of pun and metaphor at which our poet excels. In the temperature charts of poetry high is low, and low high, so that the degree at which perfect crystallization occurs is above that of tepid facility. This is what our modest poet says, in effect, respecting the atmosphere of his own fame.
Frost is the author of one of the greatest short poems in the English language, a poem that every American boy knows by heart, about the wintry woods, and the dreary dusk, and the little horsebells of gentle remonstration in the dull darkening air, and that prodigious and poignant end—two closing lines identical in every syllable, but one personal and physical, and the other metaphysical and universal. I dare not quote from memory lest I displace one small precious word.
With all his excellent gifts, John Shade could never make his snowflakes settle that way.
Line 431: March night … headlights from afar approached
Note how delicately at this point the television theme happens to merge