When the soul adores Him Who guides it through mortal life, when it distinguishes His sign at every turn of the trail, painted on the boulder and notched in the fir trunk, when every page in the book of one's personal fate bears His watermark, how can one doubt that He will also preserve us through all eternity?
So what can stop one from effecting the transition? What can help us to resist the intolerable temptation? What can prevent us from yielding to the burning desire for merging in God?
We who burrow in filth every day may be forgiven perhaps the one sin that ends all sins.
Line 501: L'if
The yew in French. It is curious that the Zemblan word for the weeping willow is also "if" (the yew is tas).
Line 502: The grand potato
An execrable pun, deliberately placed in this epigraphic position to stress lack of respect for Death. I remember from my schoolroom days Rabelais' soi-disant "last words" among other bright bits in some French manual: Je m'en vais chercher le grand peut-etre.
2: IPH
Good taste and the law of libel prevent me from disclosing the real name of the respectable institute of higher philosophy at which our poet pokes a good deal of fanciful fun in this canto. Its terminal initials, HP, provide its students with the abbreviation Hi-Phi, and Shade neatly parodies this in his IPH, or If, combinations. It is situated, most picturesquely, in a southwestern state that must remain anonymous here.
I am also obliged to observe that I strongly disapprove of the flippancy with which our poet treats, in this canto, certain aspects of spiritual hope which religion alone can fulfill (see also note to 549).
Line 549: While snubbing gods including the big G
Here indeed is the Gist of the matter. And this, I think, not only the institute (see line 517) but our poet himself missed. For a Christian, no Beyond is acceptable or imaginable without the participation of God in our eternal destiny, and this in turn implies a condign punishment for every sin, great and small. My little diary happens to contain a few jottings referring to a conversation the poet and I had on June 23 "on my terrace after a game of chess, a draw." I transcribe them here only because they cast a fascinating light on his attitude toward the subject.
I had mentioned--I do not recall in what connection--certain differences between my Church and his. It should be noted that our Zemblan brand of Protestantism is rather closely related to the "higher" churches of the Anglican Communion, but has some magnificent peculiarities of its own. The Reformation with us had been headed by a composer of genius; our liturgy is penetrated with rich music; our boy choirs are the sweetest in the world. Sybil Shade came from a Catholic family but since early girlhood developed, as she told me herself, "a religion of her own"--which is generally synonymous, at the best, with a halfhearted attachment to some half-heathen sect or, at the worst, with tepid atheism. She had weaned her husband not only from the Episcopal Church of his fathers, but from all forms of sacramental worship.
We happened to start speaking of the general present-day nebulation of the notion of "sin," of its confusion with the much more carnally colored idea of "crime," and I alluded briefly to my childhood contacts with certain rituals of our church. Confession with us is auricular and is conducted in a richly ornamented recess, the confessionist holding a lighted taper and standing with it beside the priest's high-backed seat which is shaped almost exactly as the coronation chair of a Scottish king. Little polite boy that I was, I always feared to stain his purple-black sleeve with the scalding tears of wax that kept dripping onto my knuckles, forming there tight little crusts, and I was fascinated by the illumed concavity of his ear resembling a seashell or a glossy orchid, a convoluted receptacle that seemed much too large for the disposal of my peccadilloes.
SHADE: All the seven deadly sins are peccadilloes but without three of them, Pride, Lust and Sloth, poetry might never have been born.
KINBOTE: Is it fair to base objections upon obsolete terminology?
SHADE: All religions are based upon obsolete terminology.
KINBOTE: What we term Original Sin can never grow obsolete.
SHADE: I know nothing about that. In fact when I was small I thought it meant Cain killing Abel. Personally, I am with the old snuff-takers: L'homme est ne bon.
KINBOTE: Yet disobeying the Divine Will is a fundamental definition of Sin.
SHADE: I cannot disobey something which I do not know and the reality of which I have the right to deny.
KINBOTE: Tut-tut. Do you also deny that there are sins?
SHADE: I can name only two: murder, and the deliberate infliction of pain.
KINBOTE: Then a man spending his life in absolute solitude could not be a sinner?
SHADE: He could torture animals. He could poison the springs on his island. He could denounce an innocent man in a posthumous manifesto.
KINBOTE: And so the password is--?
SHADE: Pity.
KINBOTE: But who instilled it in us, John? Who is the Judge of life, and the Designer of death?
SHADE: Life is a great surprise. I do not see why death should not be an even greater one.
KINBOTE: Now I have caught you, John: once we deny a Higher Intelligence that plans and administrates our individual hereafters we are bound to accept the unspeakably dreadful notion of Chance reaching into eternity. Consider the situation. Throughout eternity our poor ghosts are exposed to nameless vicissitudes. There is no appeal, no advice, no support, no protection, nothing. Poor Kinbote's ghost, poor Shade's shade, may have blundered, may have taken the wrong turn somewhere--oh, from sheer absent-mindedness, or simply through ignorance of a trivial rule in the preposterous game of nature--if there be any rules.
SHADE: There are rules in chess problems: interdiction of dual solutions, for instance.
KINBOTE: I had in mind diabolical rules likely to be broken by the other party as soon as we come to understand them. That is why goetic magic does not always work. The demons in their prismatic malice betray the agreement between us and them, and we are again in the chaos of chance. Even if we temper Chance with Necessity and allow godless determinism, the mechanism of cause and effect, to provide our souls after death with the dubious solace of metastatistics, we still have to reckon with the individual mishap, the thousand and second highway accident of those scheduled for Independence Day in Hades. No-no, if we want to be serious about the hereafter let us not begin by degrading it to the level of a science-fiction yarn or a spiritualistic case history. The idea of one's soul plunging into limitless and chaotic afterlife with no Providence to direct her--
SHADE: There is always a psychopompos around the corner, isn't there?
KINBOTE: Not around that corner, John. With no Providence the soul must rely on the dust of its husk, on the experience gathered in the course of corporeal confinement, and cling childishly to small-town principles, local by-laws and a personality consisting mainly of the shadows of its own prison bars. Such an idea is not to be entertained one instant by the religious mind. How much more intelligent it is--even from a proud infidel's point of view!--to accept God's Presence--a faint phosphorescence at first, a pale light in the dimness of bodily life, and a dazzling radiance after it? I too, I too, my dear John, have been assailed in my time by religious doubts. The church helped me to fight them off. It also helped me not to ask too much, not to demand too clear an image of what is unimaginable. St. Augustine said--
SHADE: Why must one always quote St. Augustine to me?
KINBOTE: As St. Augustine said, "One can know what God is not; one cannot know what He is." I think I know what He is not: He is not despair, He is not terror, He is not the earth in one's rattling throat, not the black hum in one's ears fading to nothing in nothing. I know also that the world could not have occurred fortuitously and that somehow Mind is involved as a main factor in the making of the universe. In trying to find the right name for that Universal Mind, or First Cause, or the Absolute, or Nature, I submit that the Name of God has priority.
 
; Line 550: debris
I wish to say something about an earlier note (to line 12). Conscience and scholarship have debated the question, and I now think that the two lines given in that note are distorted and tainted by wistful thinking. It is the only time in the course of the writing of these difficult comments, that I have tarried, in my distress and disappointment, on the brink of falsification. I must ask the reader to ignore those two lines (which, I am afraid, do not even scan properly). I could strike them out before publication but that would mean reworking the entire note, or at least a considerable part of it, and I have no time for such stupidities.
Lines 557-558; How to locate in blackness, with a gasp, Terra the Fair, an orbicle of jasp
The loveliest couplet in this canto.
Line 579: the other
Far from me be it to hint at the existence of some other woman in my friend's life. Serenely he played the part of exemplary husband assigned to him by his small-town admirers and was, besides, mortally afraid of his wife. More than once did I stop the gossipmongers who linked his name with that of one of his students (see Foreword). Of late, American novelists, most of whom are members of a United English Department that, with one thing and another, must be more soaked in literary talent, Freudian fancies, and ignoble heterosexual lust than all the rest of the world, have driven the topic to extinction; therefore I could not face the tedium of introducing that young lady here. Anyway, I hardly knew her. One evening I invited her to a little party with the Shades for the express purpose of refuting those rumors; and that reminds me I should say something about the curious rituals of invitation and counterinvitation in bleak New Wye.
Upon referring to my little diary, I see that during the five-month period of my intercourse with the Shades I was invited to their table exactly three times. Initiation took place on Saturday, March the 14th, when I dined at their house with the following people: Nattochdag (whom I saw every day in his office); Professor Gordon of the Music Department (who completely dominated the conversation); the Head of the Russian Department (a farcical pedant of whom the less said the better); and three or four interchangeable women (of whom one--Mrs. Gordon, I think) was enceinte, and another, a perfect stranger, steadily talked to me, or rather into me, from eight to eleven owing to an unfortunate afterdinner distribution of available seats. My next treat, a smaller but by no means cozier souper on Saturday, May 23, was attended by Milton Stone (a new librarian, with whom Shade discussed till midnight the classification of certain Wordsmithiana); good old Nattochdag (whom I continued to see every day); and an undeodorized Frenchwoman (who gave me a complete picture of language-teaching conditions at the University of California). The date of my third and last meal at the Shades is not entered in my little book but I know it was one morning in June when I brought over a beautiful plan I had drawn of the King's Palace in Onhava with all sorts of heraldic niceties, and a touch of gold paint that I had some trouble in obtaining, and was graciously urged to stay for an impromptu lunch. I should add that, despite my protests, at all three meals my vegetarian limitations of fare were not taken into account, and I was exposed to animal matter in, or around, some of the contaminated greens I might have deigned to taste. I revanched myself rather neatly. Of a dozen or so invitations that I extended, the Shades accepted just three. Every one of these meals was built around some vegetable that I subjected to as many exquisite metamorphoses as Parmentier had his pet tuber undergo. Every time I had but one additional guest to entertain Mrs. Shade (who, if you please--thinning my voice to a feminine pitch--was allergic to artichokes, avocado pears, African acorns--in fact to everything beginning with an "a"). I find nothing more conducive to the blunting of one's appetite than to have none but elderly persons sitting around one at table, fouling their napkins with the disintegration of their make-up, and surreptitiously trying, behind noncommittal smiles, to dislodge the red-hot torture point of a raspberry seed from between false gum and dead gum. So I had young people, students: the first time, the son of a padishah; the second time, my gardener; and the third time, that girl in the black leotard, with that long white face and eyelids painted a ghoulish green; but she came very late, and the Shades left very early--in fact, I doubt if the confrontation lasted more than ten minutes, whereupon I had the task of entertaining the young lady with phonograph records far into the night when at last she rang up somebody to accompany her to a "diner" in Dulwich.
Line 584: The mother and the child
Es ist die Mutter mit ihrem Kind (see note to line 664).
Line 596: Points at the puddle in his basement room
We all know those dreams in which something Stygian soaks through and Lethe leaks in the dreary terms of defective plumbing. Following this line, there is a false start preserved in the draft--and I hope the reader will feel something of the chill that ran down my long and supple spine when I discovered this variant:
Should the dead murderer try to embrace
His outraged victim whom he now must face?
Do objects have a soul? Or perish must
Alike great temples and Tanagra dust?
The last syllable of "Tanagra" and the first three letters of "dust" form the name of the murderer whose shargar (puny ghost) the radiant spirit of our poet was soon to face. "Simple chance!" the pedestrian reader may cry. But let him try to see, as I have tried to see, how many such combinations are possible and plausible. "Leningrad used to be Petrograd?" "A prig rad (obs. past tense of read) us?"
This variant is so prodigious that only scholarly discipline and a scrupulous regard for the truth prevented me from inserting it here, and deleting four lines elsewhere (for example, the weak lines 627-630) so as to preserve the length of the poem.
Shade composed these lines on Tuesday, July 14th. What was Gradus doing that day? Nothing. Combinational fate rests on its laurels. We saw him last on the late afternoon of July 10th when he returned from Lex to his hotel in Geneva, and there we left him.
For the next four days Gradus remained fretting in Geneva. The amusing paradox with these men of action is that they constantly have to endure long stretches of otiosity that they are unable to fill with anything, lacking as they do the resources of an adventurous mind. As many people of little culture, Gradus was a voracious reader of newspapers, pamphlets, chance leaflets and the multilingual literature that comes with nose drops and digestive tablets; but this summed up his concessions to intellectual curiosity, and since his eyesight was not too good, and the consumability of local news not unlimited, he had to rely a great deal on the torpor of sidewalk cafes and on the makeshift of sleep.
How much happier the wide-awake indolents, the monarchs among men, the rich monstrous brains deriving intense enjoyment and rapturous pangs from the balustrade of a terrace at nightfall, from the lights and the lake below, from the distant mountain shapes melting into the dark apricot of the afterglow, from the black conifers outlined against the pale ink of the zenith, and from the garnet and green flounces of the water along the silent, sad, forbidden shoreline. Oh my sweet Boscobel! And the tender and terrible memories, and the shame, and the glory, and the maddening intimations, and the star that no party member can ever reach.
On Wednesday morning, still without news, Gradus telegraphed headquarters saying that he thought it unwise to wait any longer and that he would be staying at Hotel Lazuli, Nice.
Lines 597-608: the thoughts we should roll-call, etc.
This passage should be associated in the reader's mind with the extraordinary variant given in the preceding note, for only a week later Tanagra dust and "our royal hands" were to come together, in real life, in real death.
Had he not fled, our Charles II might have been executed; this would have certainly happened had he been apprehended between the palace and the Rippleson Caves; but he sensed those thick fingers of fate only seldom during his flight; he sensed them feeling for him (as those of a grim old shepherd checking a daughter's virginity) when he was slipping, that night, on the damp fern
y flank of Mt. Mandevil (see note to line 149), and next day, at a more eerie altitude, in the heady blue, where the mountaineer becomes aware of a phantom companion. Many times that night our King cast himself upon the ground with the desperate resolution of resting there till dawn that he might shift with less torment what hazard soever he ran. (I am thinking of yet another Charles, another long dark man above two yards high.) But it was all rather physical, or neurotic, and I know perfectly well that my King, if caught and condemned and led away to be shot, would have behaved as he does in lines 606-608: thus he would look about him with insolent composure, and thus he would
Taunt our inferiors, cheerfully deride
The dedicated imbeciles and spit
Into their eyes just for the fun of it
Let me close this important note with a rather anti-Darwinian aphorism: The one who kills is always his victim's inferior.
Line 603: Listen to distant cocks crow
One will recall the admirable image in a recent poem by Edsel Ford:
And often when the cock crew, shaking fire
Out of the morning and the misty mow
A mow (in Zemblan muwan) is the field next to a barn.
Lines 609-614: Nor can one help, etc.
This passage is different in the draft:
609 Nor can one help the exile caught by death
In a chance inn exposed to the hot breath
Of this America, this humid night:
Through slatted blinds the stripes of colored light
Grope for his bed--magicians from the past
With philtered gems--and life is ebbing fast.
This describes rather well the "chance inn," a log cabin, with a tiled bathroom, where I am trying to coordinate these notes. At first I was greatly bothered by the blare of diabolical radio music from what I thought was some kind of amusement park across the road--it turned out to be camping tourists--and I was thinking of moving to another place, when they forestalled me. Now it is quieter, except for an irritating wind rattling through the withered aspens, and Cedarn is again a ghost town, and there are no summer fools or spies to stare at me, and my little blue-jeaned fisherman no longer stands on his stone in the stream, and perhaps it is better so.