Describing the Night of the Burning Barn (when Van and Ada make love for the first time), Van Veen (the narrator and main character in VN’s novel Ada, 1969) mentions Sophismes de Sophie by Mlle Stopchin in the Bibliothèque Vieux Rose series:
A sort of hoary riddle (Les Sophismes de Sophie by Mlle Stopchin in the Bibliothèque Vieux Rose series): did the Burning Barn come before the Cockloft or the Cockloft come first. Oh, first! We had long been kissing cousins when the fire started. In fact, I was getting some Château Baignet cold cream from Ladore for my poor chapped lips. And we both were roused in our separate rooms by her crying au feu! July 28? August 4?
Who cried? Stopchin cried? Larivière cried? Larivière? Answer! Crying that the barn flambait?
No, she was fast ablaze — I mean, asleep. I know, said Van, it was she, the hand-painted handmaid, who used your watercolors to touch up her eyes, or so Larivière said, who accused her and Blanche of fantastic sins.
Oh, of course! But not Marina’s poor French — it was our little goose Blanche. Yes, she rushed down the corridor and lost a miniver-trimmed slipper on the grand staircase, like Ashette in the English version. (1.19)
Darkbloom (‘Notes to Ada’): Mlle Stopchin: a representative of Mme de Ségur, née Rostopchine, author of Les Malheurs de Sophie (nomenclatorially occupied on Antiterra by Les Malheurs de Swann).
au feu!: fire!
flambait: was in flames.
Ashette: ‘Cendrillon’ in the French original.
Mme de Ségur’s books came out in the Bibliothèque rose illustrée (Illustrated Pink Library) series founded by the publisher Hachette. But Vieux Rose (Old Rose) in “the Bibliothèque Vieux Rose series” also hints at the hybrid tea rose ‘Comtesse de Ségur.’ According to Van, Ada (who is so fond of orchids) never liked roses:
He showered and changed, and finished the flask of brandy in his dressing case, and called the Geneva airport and was told that the last plane from America had just arrived. He went for a stroll — and saw that the famous ‘mûrier,’ that spread its great limbs over a humble lavatory on a raised terrace at the top of a cobbled lane, was now in sumptuous purple-blue bloom. He had a beer at the café opposite the railway station, and then, automatically, entered the flower shop next door. He must be gaga to have forgotten what she said the last time about her strange anthophobia (somehow stemming from that debauche à trois thirty years ago). Roses she never liked anyway. He stared and was easily outstared by small Carols from Belgium, long-stemmed Pink Sensations, vermilion Superstars. There were also zinnias, and chrysanthemums, and potted aphelandras, and two graceful fringetails in an inset aquarium. Not wishing to disappoint the courteous old florist, he bought seventeen odorless Baccara roses, asked for the directory, opened it at Ad-Au, Mont Roux, lit upon ‘Addor, Yolande, Mlle secrét., rue des Délices, 6,’ and with American presence of mind had his bouquet sent there.
People were already hurrying home from work. Mademoiselle Addor, in a sweat-stained frock, was climbing the stairs. The streets had been considerably quieter in the sourdine Past. The old Morris pillar, upon which the present Queen of Portugal figured once as an actress, no longer stood at the corner of Chemin de Mustrux (old corruption of the town’s name). Must Trucks roar through Must Rux? (Part Four)
In the debauche à trois Van, Ada and Lucette make love in Van’s Manhattan flat:
Ada, being at twenty a long morning sleeper, his usual practice, ever since their new life together had started, was to shower before she awoke and, while shaving, ring from the bathroom for their breakfast to be brought by Valerio, who would roll in the laid table out of the lift into the sitting room next to their bedroom. But on this particular Sunday, not knowing what Lucette might like (he remembered her old craving for cocoa) and being anxious to have an engagement with Ada before the day began, even if it meant intruding upon her warm sleep, Van sped up his ablutions, robustly dried himself, powdered his groin, and without bothering to put anything on re-entered the bedroom in full pride, only to find a tousled and sulky Lucette, still in her willow green nightie, sitting on the far edge of the concubital bed, while fat-nippled Ada, already wearing, for ritual and fatidic reasons, his river of diamonds, was inhaling her first smoke of the day and trying to make her little sister decide whether she would like to try the Monaco’s pancakes with Potomac syrup, or, perhaps, their incomparable amber-and-ruby bacon. Upon seeing Van, who without a flinch in his imposing deportment proceeded to place a rightful knee on the near side of the tremendous bed (Mississippi Rose had once brought there, for progressive visual-education purposes, her two small toffee-brown sisters, and a doll almost their size but white), Lucette shrugged her shoulders and made as if to leave, but Ada’s avid hand restrained her.
‘Pop in, pet (it all started with the little one letting wee winds go free at table, circa 1882). And you, Garden God, ring up room service — three coffees, half a dozen soft-boiled eggs, lots of buttered toast, loads of —’
‘Oh no!’ interrupted Van. ‘Two coffees, four eggs, et cetera. I refuse to let the staff know that I have two girls in my bed, one (teste Flora) is enough for my little needs.’
‘Little needs!’ snorted Lucette. ‘Let me go, Ada. I need a bath, and he needs you.’
‘Pet stays right here,’ cried audacious Ada, and with one graceful swoop plucked her sister’s nightdress off. Involuntarily Lucette bent her head and frail spine; then she lay back on the outer half of Ada’s pillow in a martyr’s pudibund swoon, her locks spreading their orange blaze against the black velvet of the padded headboard.
‘Uncross your arms, silly,’ ordered Ada and kicked off the top sheet that partly covered six legs. Simultaneously, without turning her head, she slapped furtive Van away from her rear, and with her other hand made magic passes over the small but very pretty breasts, gemmed with sweat, and along the flat palpitating belly of a seasand nymph, down to the firebird seen by Van once, fully fledged now, and as fascinating in its own way as his favorite’s blue raven. Enchantress! Acrasia!
What we have now is not so much a Casanovanic situation (that double-wencher had a definitely monochromatic pencil — in keeping with the memoirs of his dingy era) as a much earlier canvas, of the Venetian (sensu largo) school, reproduced (in ‘Forbidden Masterpieces’) expertly enough to stand the scrutiny of a borders vue d’oiseau.
Thus seen from above, as if reflected in the ciel mirror that Eric had naively thought up in his Cyprian dreams (actually all is shadowy up there, for the blinds are still drawn, shutting out the gray morning), we have the large island of the bed illumined from our left (Lucette’s right) by a lamp burning with a murmuring incandescence on the west-side bedtable. The top sheet and quilt are tumbled at the footboardless south of the island where the newly landed eye starts on its northern trip, up the younger Miss Veen’s pried-open legs. A dewdrop on russet moss eventually finds a stylistic response in the aquamarine tear on her flaming cheekbone. Another trip from the port to the interior reveals the central girl’s long white left thigh; we visit souvenir stalls: Ada’s red-lacquered talons, which lead a man’s reasonably recalcitrant, pardonably yielding wrist out of the dim east to the bright russet west, and the sparkle of her diamond necklace, which, for the nonce, is not much more valuable than the aquamarines on the other (west) side of Novelty Novel lane. The scarred male nude on the island’s east coast is half-shaded, and, on the whole, less interesting, though considerably more aroused than is good for him or a certain type of tourist. The recently repapered wall immediately west of the now louder-murmuring (et pour cause) dorocene lamp is ornamented in the central girl’s honor with Peruvian’ honeysuckle’ being visited (not only for its nectar, I’m afraid, but for the animalcules stuck in it) by marvelous Loddigesia Hummingbirds, while the bedtable on that side bears a lowly box of matches, a karavanchik of cigarettes, a Monaco ashtray, a copy of Voltemand’s poor thriller, and a Lurid Oncidium Orchid in an amethystine vaselet. The companion piece on Van’s side supports a similar superstrong but unlit lamp, a dorophone, a box of Wipex, a reading loupe, the returned Ardis album, and a separatum ‘Soft music as cause of brain tumors,’ by Dr Anbury (young Rattner’s waggish pen-name). Sounds have colors, colors have smells. The fire of Lucette’s amber runs through the night of Ada’s odor and ardor, and stops at the threshold of Van’s lavender goat. Ten eager, evil, loving, long fingers belonging to two different young demons caress their helpless bed pet. Ada’s loose black hair accidentally tickles the local curio she holds in her left fist, magnanimously demonstrating her acquisition. Unsigned and unframed.
That about summed it up (for the magical gewgaw liquefied all at once, and Lucette, snatching up her nightdress, escaped to her room). It was only the sort of shop where the jeweler’s fingertips have a tender way of enhancing the preciousness of a trinket by something akin to a rubbing of hindwings on the part of a settled lycaenid or to the frottage of a conjurer’s thumb dissolving a coin; but just in such a shop the anonymous picture attributed to Grillo or Obieto, caprice or purpose, ober- or unterart, is found by the ferreting artist.
‘She’s terribly nervous, the poor kid,’ remarked Ada stretching across Van toward the Wipex. ‘You can order that breakfast now — unless... Oh, what a good sight! Orchids. I’ve never seen a man make such a speedy recovery.’
‘Hundreds of whores and scores of cuties more experienced than the future Mrs Vinelander have told me that.’ (2.8)
It is Lucette (Van’s and Ada’s half-sister) who, after the dinner in ‘Ursus,’ tells Van the name of Ada’s future husband:
‘My dear,’ said Van, ‘do help me. She told me about her Valentian estanciero but now the name escapes me and I hate bothering her.’
‘Only she never told you,’ said loyal Lucette, ‘so nothing could escape. Nope. I can’t do that to your sweetheart and mine, because we know you could hit that keyhole with a pistol.’
‘Please, little vixen! I’ll reward you with a very special kiss.’
‘Oh, Van,’ she said over a deep sigh. ‘You promise you won’t tell her I told you?’
‘I promise. No, no, no,’ he went on, assuming a Russian accent, as she, with the abandon of mindless love, was about to press her abdomen to his. ‘Nikak-s net: no lips, no philtrum, no nosetip, no swimming eye. Little vixen’s axilla, just that — unless’ — (drawing back in mock uncertainty) — ‘you shave there?’
‘I stink worse when I do,’ confided simple Lucette and obediently bared one shoulder.
‘Arm up! Point at Paradise! Terra! Venus!’ commanded Van, and for a few synchronized heartbeats, fitted his working mouth to the hot, humid, perilous hollow.
She sat down with a bump on a chair, pressing one hand to her brow.
‘Turn off the footlights,’ said Van. ‘I want the name of that fellow.’
‘Vinelander,’ she answered. (ibid.)
And it is Lucette who brings Van a letter from Ada in which she tells him that she will accept the proposal of marriage that has been made to her:
‘At the age of ten,’ said Lucette to say something, ‘I was at the Vieux-Rose Stopchin stage, but our (using, that day, that year, the unexpected, thronal, authorial, jocular, technically loose, forbidden, possessive plural in speaking of her to him) sister had read at that age, in three languages, many more books than I did at twelve. However! After an appalling illness in California, I recouped myself: the Pioneers vanquished the Pyogenes. I’m not showing off but do you happen to know a great favorite of mine: Herodas?’
‘Oh yes,’ answered Van negligently. ‘A ribald contemporary of Justinus, the Roman scholar. Yes, great stuff. Blinding blend of subtility and brilliant coarseness. You read it, dear, in the literal French translation with the Greek en regard — didn’t you? — but a friend of mine here showed me a scrap of new-found text, which you could not have seen, about two children, a brother and sister, who did it so often that they finally died in each other’s limbs, and could not be separated — it just stretched and stretched, and snapped back in place every time the perplexed parents let go. It is all very obscene, and very tragic, and terribly funny.’
‘No, I don’t know that passage,’ said Lucette. ‘But Van, why are you —’
‘Hay fever, hay fever!’ cried Van, searching five pockets at once for a handkerchief. Her stare of compassion and the fruitless search caused such a swell of grief that he preferred to stomp out of the room, snatching the letter, dropping it, picking it up, and retreating to the farthest room (redolent of her Degrasse) to read it in one gulp.
‘O dear Van, this is the last attempt I am making. You may call it a document in madness or the herb of repentance, but I wish to come and live with you, wherever you are, for ever and ever. If you scorn the maid at your window I will aerogram my immediate acceptance of a proposal of marriage that has been made to your poor Ada a month ago in Valentine State. He is an Arizonian Russian, decent and gentle, not overbright and not fashionable. The only thing we have in common is a keen interest in many military-looking desert plants especially various species of agave, hosts of the larvae of the most noble animals in America, the Giant Skippers (Krolik, you see, is burrowing again). He owns horses, and Cubistic pictures, and "oil wells" (whatever they are-our father in hell who has some too, does not tell me, getting away with off-color allusions as is his wont). I have told my patient Valentinian that I shall give him a definite answer after consulting the only man I have ever loved or shall ever love. Try to ring me up tonight. Something is very wrong with the Ladore line, but I am assured that the trouble will be grappled with and eliminated before rivertide. Tvoya, tvoya, tvoya (thine). A.’ (2.5)
According to Lucette, at the age of ten (in 1886) she was at the Vieux-Rose Stopchin stage. In Turgenev’s novel Dym (“Smoke,” 1867) Irina’s letter to Litvinov ends in the words Tvoya, tvoya, tvoya:
На другое утро Литвинов только что возвратился домой от банкира, с которым еще раз побеседовал об игривом непостоянстве нашего курса и лучшем способе высылать за границу деньги, как швейцар вручил ему письмо. Он узнал почерк Ирины и, не срывая печати, — недоброе предчувствие, бог знает почему, проснулись в нем, — ушел к себе в комнату. Вот что прочел он (письмо было написано по-французски):
«Милый мой! я всю ночь думала о твоем предложении… Я не стану с тобой лукавить. Ты был откровенен со мною, и я буду откровенна: я не могу бежать с тобою, я не в силах это сделать. Я чувствую, как я перед тобою виновата; вторая моя вина еще больше первой, — я презираю себя, свое малодушие, я осыпаю себя упреками, но я не могу себя переменить. Напрасно я доказываю самой себе, что я разрушила твое счастие, что ты теперь, точно, вправе видеть во мне одну легкомысленную кокетку, что я сама вызвалась, сама дала тебе торжественные обещания… Я ужасаюсь, я чувствую ненависть к себе, но я не могу поступать иначе, не могу, не могу. Я не хочу оправдыватъся, не стану говорить тебе, что я сама была увлечена… все это ничего не значит; но я хочу сказать тебе и повторить, и повторить еще раз: я твоя, твоя навсегда, располагай мною, как хочешь, когда хочешь, безответно и безотчетно, я твоя… Но бежать, все бросить… нет! нет! нет! Я умоляла тебя спасти меня, я сама надеялась все изгладить, сжечь все как в огне… Но, видно, мне нет спасения; видно, яд слишком глубоко проник в меня; видно, нельзя безнаказанно в течение многих лет дышать этим воздухом! Я долго колебалась, писать ли тебе это письмо, мне страшно подумать, какое ты примешь решение, я надеюсь только на любовь твою ко мне. Но я сочла, что было бы бесчестным с моей стороны не сказать тебе правды — тем более что ты, быть может, уже начал принимать первые меры к исполнению нашего замысла. Ах! он был прекрасен, но несбыточен. О мой друг, считай меня пустою, слабою женщиной, презирай меня, но не покидай меня, не покидай твоей Ирины!.. Оставить этот свет я не в силах, но и жить в нем без тебя не могу. Мы скоро вернемся в Петербург, приезжай туда, живи там, мы найдем тебе занятия, твои прошедшие труды не пропадут, ты найдешь для них полезное применение… Только живи в моей близости, только люби меня, какова я есть, со всеми моими слабостями и пороками, и знай, что ничье сердце никогда не будет так нежно тебе предано, как сердце твоей Ирины. Приходи скорее ко мне, я не буду иметь минуты спокойствия, пока я тебя не увижу. Твоя, твоя, твоя И.»
The next morning Litvinov had only just come home from seeing the banker, with whom he had had another conversation on the playful instability of our exchange, and the best means of sending money abroad, when the hotel porter handed him a letter. He recognised Irina's handwriting, and without breaking the seal—a presentiment of evil, Heaven knows why, was astir in him—he went into his room. This was what he read (the letter was in French):
'My dear one, I have been thinking all night of your plan. . . . I am not going to shuffle with you. You have been open with me, and I will be open with you; I cannot run away with you, I have not the strength to do it. I feel how I am wronging you; my second sin is greater than the first, I despise myself, my cowardice, I cover myself with reproaches, but I cannot change myself In vain I tell myself that I have destroyed your happiness, that you have the right now to regard me as a frivolous flirt, that I myself drew you on, that I have given you solemn promises. . . . I am full of horror, of hatred for myself, but I can't do otherwise, I can't, I can't. I don't want to justify myself, I won't tell you I was carried away myself . . . all that 's of no importance; but I want to tell you, and to say it again and yet again, I am yours, yours for ever, do with me as you will when you will, free from all obligation, from all responsibility! I am yours. . . . But run away, throw up everything . . . no! no! no! I besought you to save me, I hoped to wipe out everything, to burn up the past as in a fire . . . but I see there is no salvation for me; I see the poison has gone too deeply into me; I see one cannot breathe this atmosphere for years with impunity. I have long hesitated whether to write you this letter, I dread to think what decision you may come to, I trust only to your love for me. But I felt it would be dishonest on my part to hide the truth from you—especially as perhaps you have already begun to take the first steps for carrying out our project. Ah! it was lovely but impracticable. О my dear one, think me a weak, worthless woman, despise, but don't abandon me, don't abandon your Irina ! . . . To leave this life I have not the courage, but live it without you I cannot either. We soon go back to Petersburg, come there, live there, we will find occupation for you, your labours in the past shall not be thrown away, you shall find good use for them . . . only live near me, only love me; such as I am, with all my weaknesses and my vices, and believe me, no heart will ever be so tenderly devoted to you as the heart of your Irina. Come soon to me, I shall not have an instant's peace until I see you. — Yours, yours, yours, I.' (Chapter XXV)
According to Marina (Van’s, Ada’s and Lucette’s mother), at Van’s age she would have poisoned her governess with anti-roach borax if forbidden to read, for example, 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)
In the Night of the Burning Barn Van and Ada make love in the library of Ardis Hall. Describing the library of Ardis Hall, Van mentions Mme de Réan-Fichini, the author of a treatise On Contraceptive Devices:
Still more amusing was the ‘message’ of a Canadian social worker, Mme de Réan-Fichini, who published her treatise, On Contraceptive Devices, in Kapuskan patois (to spare the blushes of Estotians and United Statians; while instructing hardier fellow-workers in her special field). ‘Sole sura metoda,’ she wrote, ‘por decevor natura, est por un strong-guy de contino-contino-contino jusque le plesir brimz; et lors, a lultima instanta, svitchera a l’altra gropa [groove]; ma perquoi una femme ardora andor ponderosa ne se retorna kvik enof, la transita e facilitata per positio torovago’; and that term an appended glossary explained in blunt English as ‘the posture generally adopted in rural communities by all classes, beginning by the country gentry and ending with the lowliest farm animals throughout the United Americas from Patagony to Gasp.’ Ergo, concluded Van, our missionary goes up in smoke.
‘Your vulgarity knows no bounds,’ said Ada.
‘Well, I prefer to burn than to be slurped up alive by the Cheramie — or whatever you call her — and have my widow lay a lot of tiny green eggs on top of it!’ (ibid.)
Sophie de Réan or Sophie Fichini is a character in Countess de Ségur’s Fleurville trilogy (1858-59): Les Malheurs de Sophie, Les Petites Filles modèles and Les Vacances.
In a letter to Van Ada (now married to Andrey Vinelander) calls herself “a petite fille modèle practicing archery near a vase and a parapet:”
He greeted the dawn of a placid and prosperous century (more than half of which Ada and I have now seen) with the beginning of his second philosophic fable, a ‘denunciation of space’ (never to be completed, but forming in rear vision, a preface to his Texture of Time). Part of that treatise, a rather mannered affair, but nasty and sound, appeared in the first issue (January, 1904) of a now famous American monthly, The Artisan, and a comment on the excerpt is preserved in one of the tragically formal letters (all destroyed save this one) that his sister sent him by public post now and then. Somehow, after the interchange occasioned by Lucette’s death such nonclandestine correspondence had been established with the tacit sanction of Demon:
And o’er the summits of the Tacit
He, banned from Paradise, flew on:
Beneath him, like a brilliant’s facet,
Mount Peck with snows eternal shone.
It would seem indeed that continued ignorance of each other’s existence might have looked more suspicious than the following sort of note:
Agavia Ranch
February 5, 1905
I have just read Reflections in Sidra, by Ivan Veen, and I regard it as a grand piece, dear Professor. The ‘lost shafts of destiny’ and other poetical touches reminded me of the two or three times you had tea and muffins at our place in the country about twenty years ago. I was, you remember (presumptuous phrase!), a petite fille modèle practicing archery near a vase and a parapet and you were a shy schoolboy (with whom, as my mother guessed, I may have been a wee bit in love!), who dutifully picked up the arrows I lost in the lost shrubbery of the lost castle of poor Lucette’s and happy, happy Adette’s childhood, now a ‘Home for Blind Blacks’ — both my mother and L., I’m sure, would have backed Dasha’s advice to turn it over to her Sect. Dasha, my sister-in-law (you must meet her soon, yes, yes, yes, she’s dreamy and lovely, and lots more intelligent than I), who showed me your piece, asks me to add she hopes to ‘renew’ your acquaintance — maybe in Switzerland, at the Bellevue in Mont Roux, in October. I think you once met pretty Miss ‘Kim’ Blackrent, well, that’s exactly dear Dasha’s type. She is very good at perceiving and pursuing originality and all kinds of studies which I can’t even name! She finished Chose (where she read History — our Lucette used to call it ‘Sale Histoire,’ so sad and funny!). For her you’re le beau ténébreux, because once upon a time, once upon libellula wings, not long before my marriage, she attended — I mean at that time, I’m stuck in my ‘turnstyle’ — one of your public lectures on dreams, after which she went up to you with her latest little nightmare all typed out and neatly clipped together, and you scowled darkly and refused to take it. Well, she’s been after Uncle Dementiy to have him admonish le beau ténébreux to come to Mont Roux Bellevue Hotel, in October, around the seventeenth, I guess, and he only laughs and says it’s up to Dashenka and me to arrange matters.
So ‘congs’ again, dear Ivan! You are, we both think, a marvelous, inimitable artist who should also ‘only laugh,’ if cretinic critics, especially lower-upper-middle-class Englishmen, accuse his turnstyle of being ‘coy’ and ‘arch,’ much as an American farmer finds the parson ‘peculiar’ because he knows Greek.
P.S.
Dushevno klanyayus’ (‘am souledly bowing’, an incorrect and vulgar construction evoking the image of a ‘bowing soul’) nashemu zaochno dorogomu professoru (‘to our "unsight-unseen" dear professor’), o kotorom mnogo slïshal (about whom have heard much) ot dobrago Dementiya Dedalovicha i sestritsï (from good Demon and my sister).
S uvazheniem (with respect),
Andrey Vaynlender (3.7)
Pretty Miss ‘Kim’ Blackrent hints at Kim Beauharnais, the kitchen boy and photographer at Ardis whom Van blinds for spying on him and Ada and attempting to blackmail Ada. Van does not realize that Ada (who wanted to spend the night with Van) has bribed Kim (a child or dwarf who is walking à reculons as if taking pictures) to set the barn on fire:
As two last retainers, the cook and the night watchman, scurried across the lawn toward a horseless trap or break, that stood beckoning them with erected thills (or was it a rickshaw? Uncle Dan once had a Japanese valet), Van was delighted and shocked to distinguish, right there in the inky shrubbery, Ada in her long nightgown passing by with a lighted candle in one hand and a shoe in the other as if stealing after the belated ignicolists. It was only her reflection in the glass. She dropped the found shoe in a wastepaper basket and joined Van on the divan.
‘Can one see anything, oh, can one see?’ the dark-haired child kept repeating, and a hundred barns blazed in her amber-black eyes, as she beamed and peered in blissful curiosity. He relieved her of her candlestick, placing it near his own longer one on the window ledge. ‘You are naked, you are dreadfully indecent,’ she observed without looking and without any emphasis or reproof, whereupon he cloaked himself tighter, Ramses the Scotsman, as she knelt beside him. For a moment they both contemplated the romantic night piece framed in the window. He had started to stroke her, shivering, staring ahead, following with a blind man’s hand the dip of her spine through the batiste.
‘Look, gipsies,’ she whispered, pointing at three shadowy forms — two men, one with a ladder, and a child or dwarf — circumspectly moving across the gray lawn. They saw the candlelit window and decamped, the smaller one walking à reculons as if taking pictures.
‘I stayed home on purpose, because I hoped you would too — it was a contrived coincidence,’ she said, or said later she’d said — while he continued to fondle the flow of her hair, and to massage and rumple her nightdress, not daring yet to go under and up, daring, however, to mold her nates until, with a little hiss, she sat down on his hand and her heels, as the burning castle of cards collapsed. She turned to him and next moment he was kissing her bare shoulder, and pusrandchildrenhing against her like that soldier behind in the queue. (1.19)
Similarly, Van never finds out that Andrey and Ada have at least two children and that Mr. Ronald Oranger (old Van’s secretary and the editor of Ada) and Violet Knox (old Van’s typist who marries Ronald Oranger after Van’s and Ada’s death) are Ada’s grandchildren.