JM to Dave (off list): I couldn’t get the point here: “reference to Silvio helps to establish Sybil (nee Irondell) Shade's identification with the pivotal Sylvia O'Donnell (well-connected to Zemblans and Wordsmith administrators alike)”.  
Dave  to JM (off list)
(a) “Names are part of the connective tissue in the commentary. Not for nothing is Kinbote an expert on names. (It's partly why I included the second link in my response.) Brian Boyd answered my question about what to make of Sylvia O'Donnell (as alter ego for Irondell, Sybil transformed) in "Azure Afterimages", Nab Studies #6, and when I was investigating the poetic titles, the correspondence between faun references (Silvio reinforcing the Sybil-Sylvia link) hit me, so I lifted that bit from http://nnyhav.blogspot.com/2005/10/garden.html 
[Here] …another name bit that Matt Roth uncovered in PF: http://kobaltana.wordpress.com/2013/11/15/the-strange-case-of-nabokov-and-w-f-kirby/
(b) speaking of serendipity, I just stumbled on this:
http://www.theguardian.com/books/booksblog/2014/mar/10/poem-of-the-week-andrew-marvell-nymph-fawn which tickles, especially in the conclusion to its commentary: "Marvell's fawn is a paragon, but not a unicorn. His Nymph, abandoning herself to full-on adolescent despair, is a real girl, if in an imaginary garden." (the Marvell line 678 immediately precedes "Hurricane Lolita"). Maybe the links (and bobolinks) go deeper than I can imagine ... [   ] (c) It's just the tickly quote below* compressed it so well (real girl, imaginary garden) ... “You went on/Translating into French Marvell and Donne./It was a year of Tempests: Hurricane/Lolita swept from Florida to Maine.”

  

Jansy Mello:  It’s impossible for me to search Marvell in depth as a reply to Dave's commentaries demand. Important information is lurking behind "links and bobolinks," though, just as he observed to me... 

A comparison between shared particularities between V.Nabokov and A.Marvell are promised here: “Marvell, Nabokov: Childhood and Arcadia by Michael Long.  

See, also, Di Santo's article (Project Muse) with a promising parallel in its abstract: Andrew Marvell's Ambivalence toward Adult Sexuality Michael DiSanto - SEL Studies in English Literature 1500-1900  Volume 48, Number 1, Winter 2008  pp. 165-182 | 10.1353/sel.2008.0007

Abstract Some of Andrew Marvell's poems are marked by the presence of powerful and attractive nymphets and threatening adult women. They are the manifestation of a disturbance in Marvell's thought concerning adult sexuality. At times, his speakers read like early versions of Humbert Humbert, the famous narrator of Nabokov's Lolita, whose attraction to young virgins betrays a desire to avoid adult sexuality. Continuities in the use of language and the valuation of women suggest that, despite the change of speakers, several poems can be read as a kind of confession and justification by Marvell, raising some questions about the poet's sexuality.

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* - “Marvell's fawn is a paragon, but not a unicorn. His Nymph, abandoning herself to full-on adolescent despair, is a real girl, if in an imaginary garden.” (Carol Rumen’s commentary at the address Dave brought up: http://www.theguardian.com/books/booksblog/2014/mar/10/poem-of-the-week-andrew-marvell-nymph-fawn.

I could only wander as far as the lines by Marianne Moore (quoted by Alfred Appel Jr. – if I remember it correctly – in The Annotated Lolita), on poetry’s "imaginary gardens with real toads in them," and how they apply to VN’s novels more than to VN’s poems (except via J.Shade, as I see now).