When Van Veen (the narrator and main character in VN’s novel Ada, 1969) describes his nights at Ardis, Ada takes over and mentions a minty whiff of Summer Savory or Yerba Buena on a coastal slope that has to be smelled through the transparency of death and ardent beauty:
Hammock and honey: eighty years later he could still recall with the young pang of the original joy his falling in love with Ada. Memory met imagination halfway in the hammock of his boyhood’s dawns. At ninety-four he liked retracing that first amorous summer not as a dream he had just had but as a recapitulation of consciousness to sustain him in the small gray hours between shallow sleep and the first pill of the day. Take over, dear, for a little while. Pill, pillow, billow, billions. Go on from here, Ada, please.
(She). Billions of boys. Take one fairly decent decade. A billion of Bills, good, gifted, tender and passionate, not only spiritually but physically well-meaning Billions, have bared the jillions of their no less tender and brilliant Jills during that decade, at stations and under conditions that have to be controlled and specified by the worker, lest the entire report be choked up by the weeds of statistics and waist-high generalizations. No point would there be, if we left out, for example, the little matter of prodigious individual awareness and young genius, which makes, in some cases, of this or that particular gasp an unprecedented and unrepeatable event in the continuum of life or at least a thematic anthemia of such events in a work of art, or a denouncer’s article. The details that shine through or shade through: the local leaf through the hyaline skin, the green sun in the brown humid eye, tout ceci, vsyo eto, in tit and toto, must be taken into account, now prepare to take over (no, Ada, go on, ya zaslushalsya: I’m all enchantment and ears), if we wish to convey the fact, the fact, the fact — that among those billions of brilliant couples in one cross section of what you will allow me to call spacetime (for the convenience of reasoning), one couple is a unique super-imperial couple, sverhimperatorskaya cheta, in consequence of which (to be inquired into, to be painted, to be denounced, to be put to music, or to the question and death, if the decade has a scorpion tail after all), the particularities of their love-making influence in a special unique way two long lives and a few readers, those pensive reeds, and their pens and mental paintbrushes. Natural history indeed! Unnatural history — because that precision of senses and sense must seem unpleasantly peculiar to peasants, and because the detail is all: The song of a Tuscan Firecrest or a Sitka Kinglet in a cemetery cypress; a minty whiff of Summer Savory or Yerba Buena on a coastal slope; the dancing flitter of a Holly Blue or an Echo Azure — combined with other birds, flowers and butterflies: that has to be heard, smelled and seen through the transparency of death and ardent beauty. And the most difficult: beauty itself as perceived through the there and then. The males of the firefly (now it’s really your turn, Van). (1.12)
Describing Kretschmar’s car accident in Camera Obscura (1933), VN mentions the old woman gathering aromatnye travy (herbs) on the hillside:
Старуха, собирающая на пригорке ароматные травы, видела, как с разных сторон близятся к быстрому виражу автомобиль и двое велосипедистов. Из люльки яично – желтого почтового дирижабля, плывущего по голубому небу в Тулон, летчик видел петлистое шоссе, овальную тень дирижабля, скользящую по солнечным склонам, и две деревни, отстоящие друг от друга на двадцать километров. Быть может, поднявшись достаточно высоко, можно было бы увидеть зараз провансальские холмы и, скажем, Берлин, где тоже было жарко, – вся эта щека земли, от Гибралтара до Стокгольма, озарялась в этот день улыбкой прекрасной погоды. Берлин, в частности, успешно торговал мороженым; Ирма, бывало, шалела от счастья, когда уличный торговец близ белого своего лотка лопаткой намазывал на тонкую вафлю толстый, сливочного оттенка, слой, от которого сладко ныли передние зубы и начинал танцевать язык. Аннелиза, выйдя утром на балкон, заметила как раз такого мороженика, и странно было, что он – весь в белом, а она – вся в черном. В то утро она проснулась с чувством сильнейшего беспокойства и теперь, стоя на балконе, спохватилась, что впервые вышла из состояния матового оцепенения, к которому за последнее время привыкла, но сама не могла понять, чем нынче так странно взволнована. Она вспомнила вчерашний день, совершенно обыкновенный – деловитую поездку на кладбище, пчел, садившихся на цветы, которые она привезла, влажное поблескивание буковой ограды, ветерок, тишину, мягкую зелень. «Так в чем же дело? – спросила она себя. – Как это странно». С балкона был виден мороженик в белом колпаке. Солнце ярко освещало крыши – в Берлине, в Париже и дальше, на юге. Желтый дирижабль плыл в Тулон. Старуха собирала над обрывом ароматные травы; рассказов хватит на целый год: «Я видела… Я видела…» (Chapter XXX)
THE old woman gathering herbs on the hillside saw the car and the two cyclists approaching the sharp bend from opposite directions. From a mail plane flying coastward through the sparkling blue dust of the sky, the pilot could see the loops of the road, the shadow of his wings gliding across the sunlit slopes and two villages twelve miles distant from one another. Perhaps by rising still higher it would be possible to see simultaneously the mountains of Provence, and a distant town in another country--let us say, Berlin--where the weather was hot too; for on this particular day the cheek of the earth from Gibraltar to Stockholm was painted with mellow sunshine.
In Berlin, on this particular day, a great many ices were sold. Irma had once used to look on with the gravity of greed when the ice-cream man smeared a thin wafer with the thick yellowish substance which, when tasted, made one's tongue dance and one's front teeth ache deliciously. So that, when Elisabeth stepped onto the balcony and noticed one of these ice-cream vendors, it seemed strange to her that he should be dressed all in white and she all in black.
She had awakened feeling very restless, and now she realized with a strange dismay that, for the first time, she had emerged from that state of dull torpor to which she had grown accustomed of late, and she could not understand why she felt so strangely uncomfortable. She lingered on the balcony and thought of the day before, on which nothing special had happened: the usual drive to the churchyard, bees settling on her flowers, the damp glitter of the box hedge round the grave; the stillness and the soft earth.
"What can it be?" she wondered. "Why am I all a-tingle?"
From the balcony she could see the ice-cream vendor with his white cap. The balcony seemed to soar higher, higher. The sun threw a dazzling light on the tiles--in Berlin, in Brussels, in Paris and farther toward the South. The mail plane was flying to St. Cassien. The old woman was gathering herbs on the rocky slope. For a whole year at least she would be telling people how she had seen ... what she had seen.... (Laughter in the Dark, Chapter XXXII)
As a result of the car accident Kretschmar becomes blind. In Ada Van blinds Kim Beauharnais (the kitchen boy and photographer at Ardis) for spying on him and Ada and attempting to blackmail Ada (2.11). Josephine Beauharnais (known on Demonia, aka Antiterra, Earth’s twin planet on which Ada is set, as Queen Josephine) was Napoleon’s first wife. In his Ode to Napoleon Buonaparte (1814) Byron mentions imperial hope:
The Desolator desolate!
The Victor overthrown!
The Arbiter of others' fate
A Suppliant for his own!
Is it some yet imperial hope
That with such change can calmly cope?
Or dread of death alone?
To die a Prince - or live a slave -
Thy choice is most ignobly brave!
Ada's "ardent beauty" and "beauty itself as perceived through the there and then" bring to mind Byron's poem She Walks in Beauty (1814). During Van's first tea party at Ardis Marina (Van's, Ada's and Lucette's mother) says that she loved to identify herself with famous beauties — Lincoln’s second wife or Queen Josephine:
They now had tea in a prettily furnished corner of the otherwise very austere central hall from which rose the grand staircase. They sat on chairs upholstered in silk around a pretty table. Ada’s black jacket and a pink-yellow-blue nosegay she had composed of anemones, celandines and columbines lay on a stool of oak. The dog got more bits of cake than it did ordinarily. Price, the mournful old footman who brought the cream for the strawberries, resembled Van’s teacher of history, ‘Jeejee’ Jones.
‘He resembles my teacher of history,’ said Van when the man had gone.
‘I used to love history,’ said Marina, ‘I loved to identify myself with famous women. There’s a ladybird on your plate, Ivan. Especially with famous beauties — Lincoln’s second wife or Queen Josephine.’
‘Yes, I’ve noticed — it’s beautifully done. We’ve got a similar set at home.’
‘Slivok (some cream)? I hope you speak Russian?’ Marina asked Van, as she poured him a cup of tea.
‘Neohotno no sovershenno svobodno (reluctantly but quite fluently),’ replied Van, slegka ulïbnuvshis’ (with a slight smile). ‘Yes, lots of cream and three lumps of sugar.’
‘Ada and I share your extravagant tastes. Dostoevski liked it with raspberry syrup.’
‘Pah,’ uttered Ada. (1.5)
Describing Kim Beauharnais’s album, Van mentions a bayronka (open shirt), a guinea pig and a vivisectional alibi:
A formal photograph, on a separate page: Adochka, pretty and impure in her flimsy, and Vanichka in gray-flannel suit, with slant-striped school tie, facing the kimera (chimera, camera) side by side, at attention, he with the shadow of a forced grin, she, expressionless. Both recalled the time (between the first tiny cross and a whole graveyard of kisses) and the occasion: it was ordered by Marina, who had it framed and set up in her bedroom next to a picture of her brother at twelve or fourteen clad in a bayronka (open shirt) and cupping a guinea pig in his gowpen (hollowed hands); the three looked like siblings, with the dead boy providing a vivisectional alibi. (2.7)
At the beginning of Camera Obscura Cheepy (the guinea pig drawn by Robert Horn, the cartoonist), vivisection and the Cape of Good Hope are mentioned:
Приблизительно в 1925 г. размножилось по всему свету милое, забавное существо - существо теперь уже почти забытое, но в своё время, т. е. в течение трёх-четырёх лет, бывшее вездесущим, от Аляски до Патагонии, от Маньчжурии до Новой Зеландии, от Лапландии до Мыса Доброй Надежды, словом, всюду, куда проникают цветные открытки, - существо, носившее симпатичное имя Cheepy.
Рассказывают, что его (или, вернее, её) происхождение связано с вопросом о вивисекции. Художник Роберт Горн, проживавший в Нью-Йорке, однажды завтракал со случайным знакомым - молодым физиологом. Разговор коснулся опытов над живыми зверьми. Физиолог, человек впечатлительный, ещё не привыкший к лабораторным кошмарам, выразил мысль, что наука не только допускает изощренную жестокость к тем самым животным, которые в иное время возбуждают в человеке умиление своей пухлостью, теплотой, ужимками, но еще входит как бы в азарт - распинает живьём и кромсает куда больше особей, чем в действительности ей необходимо. "Знаете что, - сказал он Горну, - вот вы так славно рисуете всякие занятные штучки для журналов; возьмите-ка и пустите, так сказать, на волны моды какого-нибудь многострадального маленького зверя, например, морскую свинку. Придумайте к этим картинкам шуточные надписи, где бы этак вскользь, легко упоминалось о трагической связи между свинкой и лабораторией. Удалось бы, я думаю, не только создать очень своеобразный и забавный тип, но и окружить свинку некоторым ореолом модной ласки, что и обратило бы общее внимание на несчастную долю этой, в сущности, милейшей твари". "Не знаю, - ответил Горн, - они мне напоминают крыс. Бог с ними. Пускай пищат под скальпелем". (Chapter I)
Visiting Van at Kingston, Lucette (Van’s and Ada’s half-sister) calls him “Dr V. V. Sector:”
She returned the balled handkerchief of many an old romance to her bag, which, however, remained unclosed. Chows, too, have blue tongues.
‘Mamma dwells in her private Samsara. Dad has had another stroke. Sis is revisiting Ardis.’
‘Sis! Cesse, Lucette! We don’t want any baby serpents around.’
‘This baby serpent does not quite know what tone to take with Dr V.V. Sector. You have not changed one bit, my pale darling, except that you look like a ghost in need of a shave without your summer Glanz.’
And summer Mädel. He noticed that the letter, in its long blue envelope, lay now on the mahogany sideboard. He stood in the middle of the parlor, rubbing his forehead, not daring, not daring, because it was Ada’s notepaper. (2.5)
Describing Lucette’s suicide, Van mentions the flyleaf of Herb’s Journal:
Having cradled the nacred receiver she changed into black slacks and a lemon shirt (planned for tomorrow morning); looked in vain for a bit of plain notepaper without caravelle or crest; ripped out the flyleaf of Herb’s Journal, and tried to think up something amusing, harmless, and scintillating to say in a suicide note. But she had planned everything except that note, so she tore her blank life in two and disposed of the pieces in the W.C.; she poured herself a glass of dead water from a moored decanter, gulped down one by one four green pills, and, sucking the fifth, walked to the lift which took her one click up from her three-room suite straight to the red-carpeted promenade-deck bar. There, two sluglike young men were in the act of sliding off their red toadstools, and the older one said to the other as they turned to leave: ‘You may fool his lordship, my dear, but not me, oh, no.’
She drank a ‘Cossack pony’ of Klass vodka — hateful, vulgar, but potent stuff; had another; and was hardly able to down a third because her head had started to swim like hell. Swim like hell from sharks, Tobakovich!
She had no purse with her. She almost fell from her convex ridiculous seat as she fumbled in her shirt pocket for a stray bank note.
‘Beddydee,’ said Toby the barman with a fatherly smile, which she mistook for a leer. ‘Bedtime, miss,’ he repeated and patted her ungloved hand.
Lucette recoiled and forced herself to retort distinctly and haughtily:
‘Mr Veen, my cousin, will pay you tomorrow and bash your false teeth in.’
Six, seven — no, more than that, about ten steps up. Dix marches. Legs and arms. Dimanche. Déjeuner sur l’herbe. Tout le monde pue. Ma belle-mère avale son râtelier. Sa petite chienne, after too much exercise, gulps twice and quietly vomits, a pink pudding onto the picnic nappe. Après quoi she waddles off. These steps are something.
While dragging herself up she had to hang onto the rail. Her twisted progress was that of a cripple. Once on the open deck she felt the solid impact of the black night, and the mobility of the accidental home she was about to leave.
Although Lucette had never died before — no, dived before, Violet — from such a height, in such a disorder of shadows and snaking reflections, she went with hardly a splash through the wave that humped to welcome her. That perfect end was spoiled by her instinctively surfacing in an immediate sweep — instead of surrendering under water to her drugged lassitude as she had planned to do on her last night ashore if it ever did come to this. The silly girl had not rehearsed the technique of suicide as, say, free-fall parachutists do every day in the element of another chapter. Owing to the tumultuous swell and her not being sure which way to peer through the spray and the darkness and her own tentaclinging hair — t,a,c,l — she could not make out the lights of the liner, an easily imagined many-eyed bulk mightily receding in heartless triumph. Now I’ve lost my next note.
Got it.
The sky was also heartless and dark, and her body, her head, and particularly those damned thirsty trousers, felt clogged with Oceanus Nox, n,o,x. At every slap and splash of cold wild salt, she heaved with anise-flavored nausea and there was an increasing number, okay, or numbness, in her neck and arms. As she began losing track of herself, she thought it proper to inform a series of receding Lucettes — telling them to pass it on and on in a trick-crystal regression — that what death amounted to was only a more complete assortment of the infinite fractions of solitude. (3.5)
Darkbloom (‘Notes to Ada’): Dimanche etc.: Sunday. Lunch on the grass. Everybody stinks. My mother-in-law swallows her dentures. Her little bitch, etc. After which, etc. (see p.375, a painter’s diary Lucette has been reading).
Van spells out “Nox” for the benefit of his typist, Violet Knox (whom Ada calls Fialochka, “little violet”). After Van’s and Ada’s death Violet Knox marries Ronald Oranger (old Van’s secretary, the editor of Ada). In Camera Obscura the little boy in Segelkranz’s, Horn’s and Magda’s compartment asks his mother to give him an orange:
Горн сжал ей руку. Она вздохнула и, так как жара её размаяла, положила голову ему на плечо, продолжая нежно ёжиться и говорить, – всё равно французы в купе не могли понять. У окна сидела толстая усатая женщина в чёрном, рядом с ней мальчик, который всё повторял: «Donne-moi une orange, un tout petit bout d’orange!» «Fiche-moi la paiz», – отвечала мать. Он замолкал и потом начинал скулить сызнова. Двое молодых французов тихо обсуждали выгоды автомобильного дела; у одного из них была сильнейшая зубная боль, щека была повязана, он издавал сосущий звук, перекашивая рот. А прямо против Магды сидел маленький лысый господин в очках, с чёрной записной книжкой в руке – должно быть, провинциальный нотариус. (chapter XXVI)
Because love is blind, Van does not see that Ronald Oranger and Violet Knox are Ada’s grandchildren.
See also the expanded version of my previous post: “ya zaslushalsya, sverhimperatorskaya cheta & bayronka in Ada.”