On the eve of his duel with Tapper Van Veen (the narrator and main character in VN’s novel Ada, 1969) remembers the morning of the day on which he left Ardis forever and mentally calls Blanche (a French handmaid at Ardis) “a fey character out of some Dormilona novel for servant maids:”
It was only nine p.m. in late summer; he would not have been surprised if told it was midnight in October. He had had an unbelievably long day. The mind could hardly grasp the fact that this very morning, at dawn, a fey character out of some Dormilona novel for servant maids had spoken to him, half-naked and shivering, in the toolroom of Ardis Hall. He wondered if the other girl still stood, arrow straight, adored and abhorred, heartless and heartbroken, against the trunk of a murmuring tree. He wondered if in view of tomorrow’s partie de plaisir he should not prepare for her a when-you-receive-this-note, flippant, cruel, as sharp as an icicle. No. Better write to Demon.
Dear Dad,
in consequence of a trivial altercation with a Captain Tapper, of Wild Violet Lodge, whom I happened to step upon in the corridor of a train, I had a pistol duel this morning in the woods near Kalugano and am now no more. Though the manner of my end can be regarded as a kind of easy suicide, the encounter and the ineffable Captain are in no way connected with the Sorrows of Young Veen. In 1884, during my first summer at Ardis, I seduced your daughter, who was then twelve. Our torrid affair lasted till my return to Riverlane; it was resumed last June, four years later. That happiness has been the greatest event in my life, and I have no regrets. Yesterday, though, I discovered she had been unfaithful to me, so we parted. Tapper, I think, may be the chap who was thrown out of one of your gaming clubs for attempting oral intercourse with the washroom attendant, a toothless old cripple, veteran of the first Crimean War. Lots of flowers, please!
Your loving son, Van
He carefully reread his letter — and carefully tore it up. The note he finally placed in his coat pocket was much briefer.
Dad,
I had a trivial quarrel with a stranger whose face I slapped and who killed me in a duel near Kalugano. Sorry!
Van
Van was roused by the night porter who put a cup of coffee with a local ‘eggbun’ on his bedside table, and expertly palmed the expected chervonetz. He resembled somewhat Bouteillan as the latter had been ten years ago and as he had appeared in a dream, which Van now retrostructed as far as it would go: in it Demon’s former valet explained to Van that the ‘dor’ in the name of an adored river equaled the corruption of hydro in ‘dorophone.’ Van often had word dreams. (1.42)
La Dormilona is the Spanish title of Guy de Maupassant’s story L´Endormeuse (“The Putter-to-Sleep,” 1889). The narrator reads in the newspaper that more than 8,500 people committed suicide in the past year. Shaken by the thought of how much suffering that represents, he begins to ponder what things would be like if progressive democratic society invented an easily available, pleasant means of suicide.
Maupassant does not exist on Antiterra (Earth’s twin planet on which Ada is set), and his story La Parure (“The Necklace,” 1884) is known on Demonia (aka Antiterra) as La rivière de diamants by Mlle Larivière, Lucette’s governess who writes under the penname Guillaume de Monparnasse (sic). Lucette’s name for her governess, Belle, brings to mind Reveillez-vous, belle endormie ("Wake up, the beautiful sleeping girl"), a stanza that in Pushkin’s Eugene Onegin (Five: XXVII: 8) Triquet has brought for Tatiana on her name-day:
С семьёй Панфила Харликова
Приехал и мосье Трике,
Остряк, недавно из Тамбова,
В очках и в рыжем парике.
Как истинный француз, в кармане
Трике привез куплет Татьяне
На голос, знаемый детьми:
Reveillez-vous, belle endormie.
Меж ветхих песен альманаха
Был напечатан сей куплет;
Трике, догадливый поэт,
Его на свет явил из праха,
И смело вместо belle Nina
Поставил belle Tatiana.
With the family of Panfil Harlikov,
there also came Monsieur Triquet,
a wit, late from Tambov,
bespectacled and russet wigged.
As a true Frenchman, in his pocket
Triquet has brought a stanza for Tatiana
fitting an air to children known:
"Reveillez-vous, belle endormie."
'Mongst the time-worn songs of an almanac
this stanza had been printed;
Triquet - resourceful poet -
out of the dust brought it to light
and boldly in the place of "belle Nina"
put "belle Tatiana."
In the Kalugano hospital (where he recovers from the wound received in a pistol duel with Captain Tapper) Van meets Tatiana, a remarkably pretty and proud young nurse:
For half a minute Van was sure that he still lay in the car, whereas actually he was in the general ward of Lakeview (Lakeview!) Hospital, between two series of variously bandaged, snoring, raving and moaning men. When he understood this, his first reaction was to demand indignantly that he be transferred to the best private palata in the place and that his suitcase and alpenstock be fetched from the Majestic. His next request was that he be told how seriously he was hurt and how long he was expected to remain incapacitated. His third action was to resume what constituted the sole reason of his having to visit Kalugano (visit Kalugano!). His new quarters, where heartbroken kings had tossed in transit, proved to be a replica in white of his hotel apartment — white furniture, white carpet, white sparver. Inset, so to speak, was Tatiana, a remarkably pretty and proud young nurse, with black hair and diaphanous skin (some of her attitudes and gestures, and that harmony between neck and eyes which is the special, scarcely yet investigated secret of feminine grace fantastically and agonizingly reminded him of Ada, and he sought escape from that image in a powerful response to the charms of Tatiana, a torturing angel in her own right. Enforced immobility forbade the chase and grab of common cartoons. He begged her to massage his legs but she tested him with one glance of her grave, dark eyes — and delegated the task to Dorofey, a beefy-handed male nurse, strong enough to lift him bodily out of bed, with the sick child clasping the massive nape. When Van managed once to twiddle her breasts, she warned him she would complain if he ever repeated what she dubbed more aptly than she thought ‘that soft dangle.’ An exhibition of his state with a humble appeal for a healing caress resulted in her drily remarking that distinguished gentlemen in public parks got quite lengthy prison terms for that sort of thing. However, much later, she wrote him a charming and melancholy letter in red ink on pink paper; but other emotions and events had intervened, and he never met her again). His suitcase promptly arrived from the hotel; the stick, however, could not be located (it must be climbing nowadays Wellington Mountain, or perhaps, helping a lady to go ‘brambling’ in Oregon); so the hospital supplied him with the Third Cane, a rather nice, knotty, cherry-dark thing with a crook and a solid black-rubber heel. Dr Fitzbishop congratulated him on having escaped with a superficial muscle wound, the bullet having lightly grooved or, if he might say so, grazed the greater serratus. Doc Fitz commented on Van’s wonderful recuperational power which was already in evidence, and promised to have him out of disinfectants and bandages in ten days or so if for the first three he remained as motionless as a felled tree-trunk. Did Van like music? Sportsmen usually did, didn’t they? Would he care to have a Sonorola by his bed? No, he disliked music, but did the doctor, being a concert-goer, know perhaps where a musician called Rack could be found? ‘Ward Five,’ answered the doctor promptly. Van misunderstood this as the title of some piece of music and repeated his question. Would he find Rack’s address at Harper’s music shop? Well, they used to rent a cottage way down Dorofey Road, near the forest, but now some other people had moved in. Ward Five was where hopeless cases were kept. The poor guy had always had a bad liver and a very indifferent heart, but on top of that a poison had seeped into his system; the local ‘lab’ could not identify it and they were now waiting for a report, on those curiously frog-green faeces, from the Luga people. If Rack had administered it to himself by his own hand, he kept ‘mum’; it was more likely the work of his wife who dabbled in Hindu-Andean voodoo stuff and had just had a complicated miscarriage in the maternity ward. Yes, triplets — how did he guess? Anyway, if Van was so eager to visit his old pal it would have to be as soon as he could be rolled to Ward Five in a wheelchair by Dorofey, so he’d better apply a bit of voodoo, ha-ha, on his own flesh and blood. (1.42)
Na golos, znaemyi det’mi (fitting an air to children known), a line in EO (Five: XXVII: 7), brings to mind Golos (Logos), a Russian-language newspaper that the male nurse Dorofey reads in Ward Five (where hopeless cases are kept and where Van visits Philip Rack, Lucette's music teacher who was poisoned by his jealous wife Elsie):
That day came soon enough. After a long journey down corridors where pretty little things tripped by, shaking thermometers, and first an ascent and then a descent in two different lifts, the second of which was very capacious with a metal-handled black lid propped against its wall and bits of holly or laurel here and there on the soap-smelling floor, Dorofey, like Onegin’s coachman, said priehali (‘we have arrived’) and gently propelled Van, past two screened beds, toward a third one near the window. There he left Van, while he seated himself at a small table in the door corner and leisurely unfolded the Russian-language newspaper Golos (Logos). (ibid.)
In his essay on Chekhov, Tvorchestvo iz nichego (“Creation from Nothing,” 1905), Shestov compares Chekhov, the author of Tapyor (“The Ballroom Pianist,” 1885), Spat’ khochetsya (“Sleepy,” 1888), Duel’ (“The Duel,” 1891), and Palata No. 6 (“Ward Six,” 1892), to Maupassant and calls Chekhov pevets beznadezhnosti (a poet of hopelessness). The epigraph to Shestov’s essay is a line from Baudelaire’s poem (a sonnet with a coda) Le Goût du néant (“The Taste for Nothingness”):
Résigne-toi, mon cœur, dors ton sommeil de brute.
(Resign yourself, my heart; sleep your brutish sleep.)
A fey character out of some Dormilona novel for servant maids, Blanche reads at Ardis Les Amours du Docteur Mertvago, a mystical romance by a pastor:
She showed him next where the hammock — a whole set of hammocks, a canvas sack full of strong, soft nets — was stored: this was in the corner of a basement toolroom behind the lilacs, the key was concealed in this hole here which last year was stuffed by the nest of a bird — no need to identify it. A pointer of sunlight daubed with greener paint a long green box where croquet implements were kept; but the balls had been rolled down the hill by some rowdy children, the little Erminins, who were now Van’s age and had grown very nice and quiet.
‘As we all are at that age,’ said Van and stooped to pick up a curved tortoiseshell comb — the kind that girls use to hold up their hair behind; he had seen one, exactly like that, quite recently, but when, in whose hairdo?
‘One of the maids,’ said Ada. ‘That tattered chapbook must also belong to her, Les Amours du Docteur Mertvago, a mystical romance by a pastor.’ (1.8)
Darkbloom (‘Notes to Ada’): Les amours du Dr Mertvago: play on ‘Zhivago’ (‘zhiv’ means in Russian ‘alive’ and ‘mertv’ dead).
On Antiterra Pasternak’s novel Doctor Zhivago (1957) is known as Les Amours du Dr Mertvago and Mertvago Forever (2.5). Pasternak’s poem Konets (“The End,” 1917) begins as follows:
Наяву ли всё? Время ли разгуливать?
Лучше вечно спать, спать, спать, спать
И не видеть снов.
Is it all in waking life? Is it time to stroll about?
It’s better to sleep, to sleep, to sleep, to sleep forever
and not to see any dreams at all.
Pasternak means in Russian "parsnip." Dormilona is a Mexican name of the plant Mimosa pudica. In "mimosa" there is mimo (past, by), a word used by Van as he describes Ardis Hall:
We now pass into the music room with its little-used piano, and a corner room called the Gun Room containing a stuffed Shetland pony which an aunt of Dan Veen’s, maiden name forgotten, thank Log, once rode. On the other, or some other, side of the house was the ballroom, a glossy wasteland with wallflower chairs. ‘Reader, ride by’ (‘mimo, chitatel’,’ as Turgenev wrote). (1.6)
The phrase Mimo, chitatel', mimo (Let us pass on, reader, pass on) occurs in Turgenev's novel Dym ("Smoke," 1867):
Эльза Бельская была сирота; родственники ее не любили и рассчитывали на ее наследство... Ей предстояла гибель. Спасая ее, Ирина действительно оказывала услугу тому, кто был всему причиной и кто сам теперь стал весьма близок к ней, к Ирине... Потугин молча, долго посмотрел на Ирину - и согласился. Она заплакала и вся в слезах бросилась ему на шею. И он заплакал... но различны были их слезы. Уже все приготовлялось к тайному браку, мощная рука устранила все препятствия... Но случилась болезнь... а там родилась дочь, а там мать... отравилась.
Что было делать с ребёнком? Потугин взял его на свое попечение из тех же рук, из рук Ирины.
Страшная, тёмная история... Мимо, читатель, мимо!
Eliza Belski was an orphan; her relations did not like her, and reckoned on her inheritance . . . ruin was facing her. In saving her, Irina was really doing a service to him who was responsible for it all, and who was himself now standing in a very close relation to Irina . . . Potugin, without speaking, looked long at Irina, and consented. She wept, and flung herself all in tears on his neck. And he too wept . . . but very different were their tears. Everything had already been made ready for the secret marriage, a powerful hand removed all obstacles. . . . But illness came . . . and then a daughter was born, and then the mother . . . poisoned herself. What was to be done with the child? Potugin received it into his charge, received it from the same hands, from the hands of Irina.
A terrible dark story . . . Let us pass on, readers, pass on! (Chapter XIX)
According to Marina (Van's, Ada's and Lucette's mother), she would have poisoned her governess with anti-roach borax if forbidden to read Turgenev’s Smoke:
Her intimacy with her cher, trop cher René, as she sometimes called Van in gentle jest, changed the reading situation entirely — whatever decrees still remained pinned up in mid-air. Soon upon his arrival at Ardis, Van warned his former governess (who had reasons to believe in his threats) that if he were not permitted to remove from the library at any time, for any length of time, and without any trace of ‘en lecture,’ any volume, collected works, boxed pamphlets or incunabulum that he might fancy, he would have Miss Vertograd, his father’s librarian, a completely servile and infinitely accommodative spinster of Verger’s format and presumable date of publication, post to Ardis Hall trunkfuls of eighteenth century libertines, German sexologists, and a whole circus of Shastras and Nefsawis in literal translation with apocryphal addenda. Puzzled Mlle Larivière would have consulted the Master of Ardis, but she never discussed with him anything serious since the day (in January, 1876) when he had made an unexpected (and rather halfhearted, really — let us be fair) pass at her. As to dear, frivolous Marina, she only remarked, when consulted, that at Van’s age she would have poisoned her governess with anti-roach borax if forbidden to read, for example, Turgenev’s Smoke. Thereafter, anything Ada wanted or might have wanted to want was placed by Van at her disposal in various safe nooks, and the only visible consequence of Verger’s perplexities and despair was an increase in the scatter of a curious snow-white dust that he always left here and there, on the dark carpet, in this or that spot of plodding occupation — such a cruel curse on such a neat little man! (1.21)
Maupassant's story La Maison Tellier (1881) is dedicated to Ivan Turgenev. The action in it takes place in a brothel. According to Van, all the hundred floramors (palatial brothels built by David van Veen, a wealthy architect of Flemish extraction, all over the world in memory of his grandson Eric, the author of an essay entitled 'Villa Venus: an Organized Dream') opened simultaneously on September 20, 1875:
Eccentricity is the greatest grief’s greatest remedy. The boy’s grandfather set at once to render in brick and stone, concrete and marble, flesh and fun, Eric’s fantasy. He resolved to be the first sampler of the first houri he would hire for his last house, and to live until then in laborious abstinence.
It must have been a moving and magnificent sight — that of the old but still vigorous Dutchman with his rugged reptilian face and white hair, designing with the assistance of Leftist decorators the thousand and one memorial floramors he resolved to erect allover the world — perhaps even in brutal Tartary, which he thought was ruled by ‘Americanized Jews,’ but then ‘Art redeemed Politics’ — profoundly original concepts that we must condone in a lovable old crank. He began with rural England and coastal America, and was engaged in a Robert Adam-like composition (cruelly referred to by local wags as the Madam-I’m-Adam House), not far from Newport, Rodos Island, in a somewhat senile style, with marble columns dredged from classical seas and still encrusted with Etruscan oyster shells — when he died from a stroke while helping to prop up a propylon. It was only his hundredth house!
His nephew and heir, an honest but astoundingly stuffy clothier in Ruinen (somewhere near Zwolle, I’m told), with a large family and a small trade, was not cheated out of the millions of guldens, about the apparent squandering of which he had been consulting mental specialists during the last ten years or so. All the hundred floramors opened simultaneously on September 20, 1875 (and by a delicious coincidence the old Russian word for September, ‘ryuen’,’ which might have spelled ‘ruin,’ also echoed the name of the ecstatic Neverlander’s hometown). By the beginning of the new century the Venus revenues were pouring in (their final gush, it is true). A tattling tabloid reported, around 1890, that out of gratitude and curiosity ‘Velvet’ Veen traveled once — and only once — to the nearest floramor with his entire family — and it is also said that Guillaume de Monparnasse indignantly rejected an offer from Hollywood to base a screenplay on that dignified and hilarious excursion. Mere rumours, no doubt. (2.3)
In a letter of 7/19 September, 1875, to N. V. Khanykov Turgenev says that on the next day (September 20, 1875, NS) he will move to the new-built chalet at his and Viardot's villa Les frênes ("The Ash Trees") in Bougival:
Я Вас приму в новом своём доме, куда завтра переселяюсь, а г-н и г-жа Виардо будут очень довольны, если Вы при сей оказии останетесь у них обедать, и просят меня пригласить Вас, так же как Салтыкова и Соллогуба.
In Alexandre Dumas fils’s novel La dame aux camélias (1848) subsequently adapted by the author for the stage the action takes place in Bougival. In Chekhov’s play Chayka (“The Seagull,” 1896) Treplev speaks of his mother Arkadina (the ageing actress) and mentions Dumas’s play:
Нужно хвалить только её одну, нужно писать о ней, кричать, восторгаться её необыкновенною игрой в "La dame aux camelias" или в "Чад жизни", но так как здесь, в деревне, нет этого дурмана, то вот она скучает и злится, и все мы - её враги, все мы виноваты.
She alone must be praised and written about, raved over, her marvelous acting in “La Dame aux Camelias” or in “The Fumes of Life” extolled to the skies. As she cannot get all that intoxicant in the country, she grows peevish and cross, and thinks we are all against her, and to blame for it all. (Act One)
Chekhov's play ends in the suicide of Arkadina's son Treplev. Describing the picnic on Ada's sixteenth birthday, Van links Ada to Dr Dorn and himself, to Trigorin (the writer in "The Seagull") in the final scene of Chekhov's play:
Count Percy de Prey turned to Ivan Demianovich Veen:
‘I’m told you like abnormal positions?’
The half-question was half-mockingly put. Van looked through his raised lunel at the honeyed sun.
‘Meaning what?’ he enquired.
‘Well — that walking-on-your-hands trick. One of your aunt’s servants is the sister of one of our servants and two pretty gossips form a dangerous team’ (laughing). ‘The legend has it that you do it all day long, in every corner, congratulations!’ (bowing).
Van replied: ‘The legend makes too much of my specialty. Actually, I practice it for a few minutes every other night, don’t I, Ada?’ (looking around for her). ‘May I give you, Count, some more of the mouse-and-cat — a poor pun, but mine.’
‘Vahn dear,’ said Marina, who was listening with delight to the handsome young men’s vivacious and carefree prattle, ‘tell him about your success in London. Zhe tampri (please)!’
‘Yes,’ said Van, ‘it all started as a rag, you know, up at Chose, but then —’
‘Van!’ called Ada shrilly. ‘I want to say something to you, Van, come here.’
Dorn (flipping through a literary review, to Trigorin): ‘Here, a couple of months ago, a certain article was printed... a Letter from America, and I wanted to ask you, incidentally’ (taking Trigorin by the waist and leading him to the front of the stage), ‘because I’m very much interested in that question...’
Ada stood with her back against the trunk of a tree, like a beautiful spy who has just rejected the blindfold.
‘I wanted to ask you, incidentally, Van’ (continuing in a whisper, with an angry flick of the wrist) — ‘stop playing the perfect idiot host; he came drunk as a welt, can’t you see?’ (1.39)
One of Ada's lovers, Percy de Prey goes to the Crimean war and dies on the second day of the invasion. According to Ada, Percy left for some Greek or Turkish port:
She walked swiftly toward him across the iridescently glistening lawn. ‘Van,’ she said, ‘I must tell you my dream before I forget. You and I were high up in the Alps — Why on earth are you wearing townclothes?’
‘Well, I’ll tell you,’ drawled dreamy Van. ‘I’ll tell you why. From a humble but reliable sauce, I mean source, excuse my accent, I have just learned qu’on vous culbute behind every hedge. Where can I find your tumbler?’
‘Nowhere,’ she answered quite calmly, ignoring or not even perceiving his rudeness, for she had always known that disaster would come today or tomorrow, a question of time or rather timing on the part of fate.
‘But he exists, he exists,’ muttered Van, looking down at a rainbow web on the turf.
‘I suppose so,’ said the haughty child, ‘however, he left yesterday for some Greek or Turkish port. Moreover, he was going to do everything to get killed, if that information helps. Now listen, listen! Those walks in the woods meant nothing. Wait, Van! I was weak only twice when you had hurt him so hideously, or perhaps three times in all. Please! I can’t explain in one gush, but eventually you will understand. Not everybody is as happy as we are. He’s a poor, lost, clumsy boy. We are all doomed, but some are more doomed than others. He is nothing to me. I shall never see him again. He is nothing, I swear. He adores me to the point of insanity.’
‘I think,’ said Van, ‘we’ve got hold of the wrong lover. I was asking about Herr Rack, who has such delectable gums and also adores you to the point of insanity.’
He turned, as they say, on his heel, and walked toward the house. (1.41)
In his poem K Baratynskomu (“To Baratynski,” 1826) Pushkin compares each verse of Baratynski's narrative poem Eda to chervonets (a golden ten rouble piece) and says that Baratynski’s chukhonochka (Finnish girl) is prettier than Byron’s grechanki (Greek girls):
Стих каждый в повести твоей
Звучит и блещет, как червонец.
Твоя чухоночка, ей-ей,
Гречанок Байрона милей,
А твой зоил прямой чухонец.
The night porter at the Majestic (Van's hotel in Kalugano) expertly palms the expected chervonetz. After the unexpected success of Mlle Larivière's story "The Necklace" the roubles rolled and the dollars poured:
Yes! Wasn’t that a scream? Larivière blossoming forth, bosoming forth as a great writer! A sensational Canadian bestselling author! Her story ‘The Necklace’ (La rivière de diamants) had become a classic in girls’ schools and her gorgeous pseudonym ‘Guillaume de Monparnasse’ (the leaving out of the ‘t’ made it more intime) was well-known from Quebec to Kaluga. As she put it in her exotic English: ‘Fame struck and the roubles rolled, and the dollars poured’ (both currencies being used at the time in East Estotiland); but good Ida, far from abandoning Marina, with whom she had been platonically and irrevocably in love ever since she had seen her in ‘Bilitis,’ accused herself of neglecting Lucette by overindulging in Literature; consequently she now gave the child, in spurts of vacational zeal, considerably more attention than poor little Ada (said Ada) had received at twelve, after her first (miserable) term at school. Van had been such an idiot; suspecting Cordula! Chaste, gentle, dumb, little Cordula de Prey, when Ada had explained to him, twice, thrice, in different codes, that she had invented a nasty tender schoolmate, at a time when she had been literally torn from him, and only assumed — in advance, so to speak — such a girl’s existence. A kind of blank check that she wanted from him; ‘Well, you got it,’ said Van, ‘but now it’s destroyed and will not be renewed; but why did you run after fat Percy, what was so important?’
‘Oh, very important,’ said Ada, catching a drop of honey on her nether lip, ‘his mother was on the dorophone, and he said please tell her he was on his way home, and I forgot all about it, and rushed up to kiss you!’ (1.31)