#nabokov the poet had to exhale to create john shade the poet

[deadpanwalking]

Pale Fire poem is bad, right?

No, not exactly. The actual poetry is still enjoyable because John Shade's narrative voice is compelling, and the elegance of the poem's structure sets it apart from doggerel verse. It resembles Nabokov's own English language poetry, but the difference is that “Pale Fire” is (by design) inextricable from the context of the novel, Pale Fire. When you try to analyse it on its own, it becomes somewhat banal, an elevated iteration of Footprints in the Sand: a man reflects on his life and searches for meaning in the wake of a tragic loss, suspecting his dead daughter is trying to communicate with him, but ultimately concludes that even if the dead do speak to us from beyond, it would not be through visions and hauntings, but in ways that surpass human imagination by orders of magnitude.

John Shade is a fine poet—but Nabokov is a brilliant novelist, so both Shade and his poem became moving parts in a clockwork universe. Would you think twice about his poor Aunt Maude if you hadn't deciphered his verse about her aphasia and linked it to the transcription (pada ata lane pad not ogo old wart alan ther tale feur far rant lant tal told.¹) from Hazel's “failed” seance that Kinbote dismissively included in his footnotes?

¹ The bolding is mine, to show the three repetitions of “atalanta” (both forward and backward) that correspond with Pale Fire's motif of threes —Shade wrote the poem in three weeks, Kinbote wants you to read the commentary thrice for every time you read the poem, the Zemblan fairy tale that mentions three hundred camels and three fountains, etc.

The transcription itself is from the third night of Hazel's séance. It's a message from Maude's ghost, who remains afflicted by aphasia. Brian Boyd describes it more succinctly than I can:

But as we reread we can now see instead a message to Hazel to tell her "father (pada: pa, da, padre) he is not to go across the lane to old Goldsworth's, as an atalanta butterfly dances by, after he finishes 'Pale Fire' (tale feur), at the invitation of someone from a foreign land who has told and even ranted his tall tale to him.

So the ghost is not only real, but is—coming back to the clockwork universe metaphor—also unwittingly moved by the same metaphysical harmonic oscillator as the rest of the characters, a small part of a mechanism so complex that the paranormal is merely another component. You can't derive any of that from the verse, but when you reread it within the context of the book, you see all the intricate ways that this force operates within the poem—that's when it becomes good.