When she visits Van at Kingston, Lucette (in VN’s novel Ada, 1969, Van’s and Ada’s half-sister) calls Van moya radost’ ("my joy") and mentions skeletiki (“little skeletons,” as Lucette calls her cheekbones):
‘My joy (moya radost’),’ said Lucette — just like that; he had expected more formality: all in all he had hardly known her before — except as an embered embryo.
Eyes swimming, coral nostrils distended, red mouth perilously disclosing her tongue and teeth in a preparatory half-open skew (tame animal signaling by that slant the semblance of a soft bite), she advanced in the daze of a commencing trance, of an unfolding caress — the aurora, who knows (she knew), of a new life for both.
‘Cheekbone,’ Van warned the young lady.
‘You prefer skeletiki (little skeletons),’ she murmured, as Van applied light lips (which had suddenly become even drier than usual) to his half-sister’s hot hard pommette. He could not help inhaling briefly her Degrasse, smart, though decidedly ‘paphish,’ perfume and, through it, the flame of her Little Larousse as he and the other said when they chose to emprison her in bath water. Yes, very nervous and fragrant. Indian summer too sultry for furs, The cross (krest) of the best-groomed redhead (rousse). Its four burning ends. Because one can’t stroke (as he did now) the upper copper without imagining at once the lower fox cub and the paired embers. (2.5)
Moya radost' brings to mind Milaya radost' moya (My dearest darling), as in a letter (quoted by Fyodor in "The Life of Chernyshevski," Chapter Four of VN's novel Dar, "The Gift," 1937) from Siberia to his wife Chernyshevski calls his wife:
О "легких" сценах в "Прологе" лучше умолчим. Сквозь их болезненно-обстоятельный эротизм слышится нам такая дребежжащая нежность к жене, что малейшая из них цитата показалась бы чрезмерно глумливой. Зато послушаем вот этот чистый звук - в его письмах к ней за те годы: "Милая радость моя, благодарю тебя за то, что озарена тобою жизнь моя"... "Я был бы здесь даже один из самых счастливых людей на целом свете, если бы не думалось, что эта очень выгодная лично для меня судьба слишком тяжело отзывается на твоей жизни, мой милый друг"... "Прощаешь ли мне горе, которому я подверг тебя?"...
Concerning the “light” scenes in The Prologue we had better keep silent. Through their morbidly circumstantial eroticism one can make out such a throbbing tenderness for his wife that the least quotation from them might appear to be exaggerated derision. Instead let us listen to this pure sound—in his letters to her during those years: “My dearest darling, I thank you for being the light of my life.” … “I would be even here one of the happiest men in the world if it did not occur to me that this fate, which is very much to my personal advantage, is too hard in its effects on your life, my dear friend.” … “Will you forgive me the grief to which I have subjected you?”
In Chapter Two of “The Gift” Fyodor speaks of his father and wonders where are the skeletiki (frail skeletons) of those German tutors who used to teach natural history to Russian children:
Мой отец родился в 1860 году. Любовь к бабочкам ему привил немец-гувернер (кстати: куда девались нынче эти учившие русских детей природе чудаки, - зеленый сачек, жестянка на перевязи, уколотая бабочками шляпа, длинный ученый нос, невинные глаза за очками, - где они все, где их скелетики, - или это была особая порода немцев, на русский вывод, или я плохо смотрю?). Рано, в 1876 году, окончив в Петербурге гимназию, он университетское образование получил в Англии, в Кембридже, где занимался биологией под руководством профессора Брайта. Первое свое путешествие, кругосветное, он совершил еще до смерти своего отца, и с тех пор до 1918 года вся его жизнь состоит из странствий и писания ученых трудов. Главные эти труды суть: "Lepidoptera Asiatica" (8 томов, выпусками с 1890 года по 1917 год), "Чешуекрылые Российской Империи" (вышли первые 4 тома из предполагавшихся 6-ти, 1912-1916 гг.) и, наиболее известные широкой публике, "Путешествия Натуралиста" (7 томов, 1892-1912 гг.). Эти труды были единогласно признаны классическими и еще в молодые годы имя его заняло одно из первых мест в изучении состава русско-азиатской фауны, наряду с именами зачинателей, Фишера-фон-Вальдгейма, Менетриэ, Эверсмана.
My father was born in 1860. A love of lepidoptera was inculcated into him by his German tutor. (By the way: what has happened to those originals who used to teach natural history to Russian children—green net, tin box on a sling, hat stuck with pinned butterflies, long, learned nose, candid eyes behind spectacles—where are they all, where are their frail skeletons—or was this a special breed of Germans, for export to Russia, or am I not looking properly?) After completing early (in 1876) his schooling in St. Petersburg, he received his university education in England, at Cambridge, where he studied biology under Professor Bright. His first journey, around the world, he made while my grandfather was still alive, and from then until 1918 his whole life consisted of traveling and the writing of scientific works. The main ones among them are: Lepidoptera Asiatica (8 volumes published in parts from 1890 to 1917), The Butterflies and Moths of the Russian Empire (the first four out of six proposed volumes came out 1912–1916) and, best known to the general public, The Travels of a Naturalist (7 volumes 1892–1912). These works were unanimously recognized as classics and he was still a young man when his name occupied one of the first places in the study of the Russo-Asiatic fauna, side by side with the names of its pioneers, Fischer von Waldheim, Menetriés, Eversmann.
The characters in Ada include Dr Krolik, the local entomologist and Ada’s beloved teacher of natural history. In her letter to Van (brought to Kingston by Lucette) Ada mentions Krolik:
‘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 Van, he refused to visit Dr Krolik’s grave:
He turned, as they say, on his heel, and walked toward the house.
He could swear he did not look back, could not — by any optical chance, or in any prism — have seen her physically as he walked away; and yet, with dreadful distinction, he retained forever a composite picture of her standing where he left her. The picture — which penetrated him, through an eye in the back of his head, through his vitreous spinal canal, and could never be lived down, never — consisted of a selection and blend of such random images and expressions of hers that had affected him with a pang of intolerable remorse at various moments in the past. Tiffs between them had been very rare, very brief, but there had been enough of them to make up the enduring mosaic. There was the time she stood with her back against a tree trunk, facing a traitor’s doom; the time he had refused to show her some silly Chose snapshots of punt girls and had torn them up in fury and she had looked away knitting her brows and slitting her eyes at an invisible view in the window. Or that time she had hesitated, blinking, shaping a soundless word, suspecting him of a sudden revolt against her odd prudishness of speech, when he challenged her brusquely to find a rhyme to ‘patio’ and she was not quite sure if he had in mind a certain foul word and if so what was its correct pronunciation. And perhaps, worst of all, that time when she stood fiddling with a bunch of wild flowers, a gentle half-smile hanging back quite neutrally in her eyes, her lips pursed, her head making imprecise little movements as if punctuating with self-directed nods secret decisions and silent clauses in some sort of contract with herself, with him, with unknown parties hereinafter called Comfortless, Inutile, Unjust — while he indulged in a brutal outburst triggered by her suggesting — quite sweetly and casually (as she might suggest walking a little way on the edge of a bog to see if a certain orchid was out) — that they visit the late Krolik’s grave in a churchyard by which they were passing — and he had suddenly started to shout (‘You know I abhor churchyards, I despise, I denounce death, dead bodies are burlesque, I refuse to stare at a stone under which a roly-poly old Pole is rotting, let him feed his maggots in peace, the entomologies of death leave me cold, I detest, I despise —’); he went on ranting that way for a couple of minutes and then literally fell at her feet, kissing her feet, imploring her pardon, and for a little while longer she kept gazing at him pensively. (1.41)
“A roly-poly old Pole” seems to hint at Polonius, Ophelia’s father in Shakespeare’s Hamlet. During her visit to Kingston Lucette is “punning in an Ophelian frenzy on the feminine glans” (as Van puts it):
Would she like to stay in this apartment till Spring Term (he thought in terms of Terms now) and then accompany him to Kingston, or would she prefer to go abroad for a couple of months — anywhere, Patagonia, Angola, Gululu in the New Zealand mountains? Stay in this apartment? So, she liked it? Except some of Cordula’s stuff which should be ejected — as, for example, that conspicuous Brown Hill Alma Mater of Almehs left open on poor Vanda’s portrait. She had been shot dead by the girlfriend of a girlfriend on a starry night, in Ragusa of all places. It was, Van said, sad. Little Lucette no doubt had told him about a later escapade? Punning in an Ophelian frenzy on the feminine glans? Raving about the delectations of clitorism? ‘N’exagérons pas, tu sais,’ said Ada, patting the air down with both palms. ‘Lucette affirmed,’ he said, ‘that she (Ada) imitated mountain lions.’
He was omniscient. Better say, omni-incest.
‘That’s right,’ said the other total-recaller.
And, by the way, Grace — yes, Grace — was Vanda’s real favorite, pas petite moi and my little crest. She (Ada) had, hadn’t she, a way of always smoothing out the folds of the past — making the flutist practically impotent (except with his wife) and allowing the gentleman farmer only one embrace, with a premature eyakulyatsiya, one of those hideous Russian loanwords? Yes, wasn’t it hideous, but she’d love to play Scrabble again when they’d settled down for good. But where, how? Wouldn’t Mr and Mrs Ivan Veen do quite nicely anywhere? What about the ‘single’ in each passport? They’d go to the nearest Consulate and with roars of indignation and/or a fabulous bribe have it corrected to married, for ever and ever. (2.6)
In her conversation with Van at Kingston Lucette mentions the last round of a Flavita (Russian Scrabble) game in which she got stuck with six Buchstaben (Germ., letters of the alphabet):
When will this torture end? I can’t very well open the letter in front of her and read it aloud for the benefit of the audience. I have not art to reckon my groans.
‘One day, in the library, kneeling on a yellow cushion placed on a Chippendale chair before an oval table on lion claws —’
[The epithetic tone strongly suggests that this speech has an epistolary source. Ed.]
‘— I got stuck with six Buchstaben in the last round of a Flavita game. Mind you, I was eight and had not studied anatomy, but was doing my poor little best to keep up with two Wunderkinder. You examined and fingered my groove and quickly redistributed the haphazard sequence which made, say, LIKROT or ROTIKL and Ada flooded us both with her raven silks as she looked over our heads, and when you had completed the rearrangement, you and she came simultaneously, si je puis le mettre comme ça (Canady French), came falling on the black carpet in a paroxysm of incomprehensible merriment; so finally I quietly composed ROTIK (‘little mouth’) and was left with my own cheap initial. I hope I’ve thoroughly got you mixed up, Van, because la plus laide fille au monde peut donner beaucoup plus qu’elle n’a, and now let us say adieu, yours ever.’
‘Whilst the machine is to him,’ murmured Van.
‘Hamlet,’ said the assistant lecturer’s brightest student.
‘Okay, okay,’ replied her and his tormentor, ‘but, you know, a medically minded English Scrabbler, having two more letters to cope with, could make, for example, STIRCOIL, a well-known, sweat-gland stimulant, or CITROILS, which grooms use for rubbing fillies.’
‘Please stop, Vandemonian,’ she moaned. ‘Read her letter and bring me my coat.’
But he continued, his features working:
‘I’m amazed! I never imagined that a hand-reared scion of Scandinavian kings, Russian grand princes and Irish barons could use the language of the proverbial gutter. Yes, you’re right, you behave as a cocotte, Lucette.’
In sad meditation Lucette said: ‘As a rejected cocotte, Van.’ (2.5)
Darkbloom (‘Notes to Ada’): I have not art etc.: Hamlet.
si je puis etc.: if I may put it that way.
la plus laide etc.: the ugliest girl in the world can give more than she has.
Ya - Gamlet. Kholodeyet krov' ("I'm Hamlet. Freezes blood," 1914) is a poem by Alexander Blok, the author of a collection of poetry Nechayannaya radost' (“Inadvertent Joy,” 1907). In his poem Neznakomka (“The Unknown Woman,” 1906) Blok mentions p’yanitsy s glazami krolikov (the drunks with the eyes of rabbits):
А рядом у соседних столиков
Лакеи сонные торчат,
И пьяницы с глазами кроликов
"In vino veritas!" кричат.
And drowsy lackeys lounge about
beside the adjacent tables
while drunks with rabbit eyes
cry out "In vino veritas!"
Lucette's smart, though decidedly ‘paphish,’ perfume, Degrasse hints at eau de Grasse (cf. eau de Cologne), but also brings to mind Dysha dukhami i tumanami (Wafting a breath of perfume and mist), a line in Blok's poem:
И медленно, пройдя меж пьяными,
Всегда без спутников, одна
Дыша духами и туманами,
Она садится у окна.
And slowly passing among the drunks,
Always alone and unescorted,
Wafting a breath of perfume and mist,
She takes a table by the window.
Describing his meeting with Lucette in 1901 in Paris (also known as Lute on Demonia, aka Antiterra, Earth's twin planet on which Ada is set), Van mentions Blok's Incognita:
The Bourbonian-chinned, dark, sleek-haired, ageless concierge, dubbed by Van in his blazer days ‘Alphonse Cinq,’ believed he had just seen Mlle Veen in the Récamier room where Vivian Vale’s golden veils were on show. With a flick of coattail and a swing-gate click, Alphonse dashed out of his lodge and went to see. Van’s eye over his umbrella crook traveled around a carousel of Sapsucker paperbacks (with that wee striped woodpecker on every spine): The Gitanilla, Salzman, Salzman, Salzman, Invitation to a Climax, Squirt, The Go-go Gang, The Threshold of Pain, The Chimes of Chose, The Gitanilla — here a Wall Street, very ‘patrician’ colleague of Demon’s, old Kithar K.L. Sween, who wrote verse, and the still older real-estate magnate Milton Eliot, went by without recognizing grateful Van, despite his being betrayed by several mirrors.
The concierge returned shaking his head. Out of the goodness of his heart Van gave him a Goal guinea and said he’d call again at one-thirty. He walked through the lobby (where the author of Agonic Lines and Mr Eliot, affalés, with a great amount of jacket over their shoulders, dans des fauteuils, were comparing cigars) and, leaving the hotel by a side exit, crossed the rue des Jeunes Martyres for a drink at Ovenman’s.
Upon entering, he stopped for a moment to surrender his coat; but he kept his black fedora and stick-slim umbrella as he had seen his father do in that sort of bawdy, albeit smart, place which decent women did not frequent — at least, unescorted. He headed for the bar, and as he was in the act of wiping the lenses of his black-framed spectacles, made out, through the optical mist (Space’s recent revenge!), the girl whose silhouette he recalled having seen now and then (much more distinctly!) ever since his pubescence, passing alone, drinking alone, always alone, like Blok’s Incognita. It was a queer feeling — as of something replayed by mistake, part of a sentence misplaced on the proof sheet, a scene run prematurely, a repeated blemish, a wrong turn of time. He hastened to reequip his ears with the thick black bows of his glasses and went up to her in silence. For a minute he stood behind her, sideways to remembrance and reader (as she, too, was in regard to us and the bar), the crook of his silk-swathed cane lifted in profile almost up to his mouth. There she was, against the aureate backcloth of a sakarama screen next to the bar, toward which she was sliding, still upright, about to be seated, having already placed one white-gloved hand on the counter. She wore a high-necked, long-sleeved romantic black dress with an ample skirt, fitted bodice and ruffy collar, from the black soft corolla of which her long neck gracefully rose. With a rake’s morose gaze we follow the pure proud line of that throat, of that tilted chin. The glossy red lips are parted, avid and fey, offering a side gleam of large upper teeth. We know, we love that high cheekbone (with an atom of powder puff sticking to the hot pink skin), and the forward upsweep of black lashes and the painted feline eye — all this in profile, we softly repeat. From under the wavy wide brim of her floppy hat of black faille, with a great black bow surmounting it, a spiral of intentionally disarranged, expertly curled bright copper descends her flaming cheek, and the light of the bar’s ‘gem bulbs’ plays on her bouffant front hair, which, as seen laterally, convexes from beneath the extravagant brim of the picture hat right down to her long thin eyebrow. Her Irish profile sweetened by a touch of Russian softness, which adds a look of mysterious expectancy and wistful surprise to her beauty, must be seen, I hope, by the friends and admirers of my memories, as a natural masterpiece incomparably finer and younger than the portrait of the similarily postured lousy jade with her Parisian gueule de guenon on the vile poster painted by that wreck of an artist for Ovenman.
‘Hullo there, Ed,’ said Van to the barman, and she turned at the sound of his dear rasping voice.
‘I didn’t expect you to wear glasses. You almost got le paquet, which I was preparing for the man supposedly "goggling" my hat. Darling Van! Dushka moy!’
‘Your hat,’ he said, ‘is positively lautrémontesque — I mean, lautrecaquesque — no, I can’t form the adjective.’
Ed Barton served Lucette what she called a Chambéryzette.
‘Gin and bitter for me.’
‘I’m so happy and sad,’ she murmured in Russian. ‘Moyo grustnoe schastie! How long will you be in old Lute?’ (3.3)
Darkbloom (‘Notes to Ada’): affalés etc.: sprawling in their armchairs.
bouffant: puffed up.
gueule etc.: simian facial angle.
grustnoe etc.: Russ., she addresses him as ‘my sad bliss’.
In his poem Pomnite den’ bezotradnyi i seryi… (“Do you remember a cheerless and grey day,” 1899) Blok mentions grustnoe schastie (the sad happiness):
Помните день безотрадный и серый,
Лист пожелтевший во мраке зачах...
Всё мне: Любовь и Надежда и Вера
В Ваших очах!
Помните лунную ночь голубую,
Шли мы, и песня звучала впотьмах...
Я схоронил эту песню живую
В Ваших очах!
Помните счастье: давно отлетело
Грустное счастье на быстрых крылах...
Только и жило оно и горело
В Ваших очах!