At Chose (Van’s English University) Van Veen (the narrator and main character in VN's novel Ada, 1969) plays poker with Dick C. (a cardsharp) and the French twins. Van wins and accepts Dick's offer to substitute for his debt an introduction to the Venus Villa Club (Eric Veen's floramors). Five or six years later, when Van meets Dick in Monte Carlo, Dick repeats the phrase “Mark ‘em!” three times and mentions a flea:
(I think, Van, you should make it clearer why you, Van, the proudest and cleanest of men — I’m not speaking of abject physicalities, we are all organized that way — but why you, pure Van, could accept the offer of a rogue who no doubt continued to ‘flash and twinkle’ after that fiasco. I think you should explain, primo, that you were dreadfully overworked, and secunda, that you could not bear the thought that the rogue knew, that he being a rogue, you could not call him out, and were safe, so to speak. Right? Van, do you hear me? I think —.)
He did not ‘twinkle’ long after that. Five or six years later, in Monte Carlo, Van was passing by an open-air café when a hand grabbed him by the elbow, and a radiant, ruddy, comparatively respectable Dick C. leaned toward him over the petunias of the latticed balustrade:
‘Van,’ he cried, ‘I’ve given up all that looking-glass dung, congratulate me! Listen: the only safe way is to mark ‘em! Wait, that’s not all, can you imagine, they’ve invented a microscopic — and I mean microscopic — point of euphorion, a precious metal, to insert under your thumbnail, you can’t see it with the naked eye, but one minuscule section of your monocle is made to magnify the mark you make with it, like killing a flea, on one card after another, as they come along in the game, that’s the beauty of it, no preparations, no props, nothing! Mark ‘em! Mark ‘em!’ good Dick was still shouting, as Van walked away. (1.28)
John Donne's poem The Flea (1633) begins with the line "Mark but this flea, and mark in this:"
Mark but this flea, and mark in this,
How little that which thou deniest me is;
It sucked me first, and now sucks thee,
And in this flea our two bloods mingled be;
Thou know’st that this cannot be said
A sin, nor shame, nor loss of maidenhead,
Yet this enjoys before it woo,
And pampered swells with one blood made of two,
And this, alas, is more than we would do.
Oh stay, three lives in one flea spare,
Where we almost, nay more than married are.
This flea is you and I, and this
Our marriage bed, and marriage temple is;
Though parents grudge, and you, w'are met,
And cloistered in these living walls of jet.
Though use make you apt to kill me,
Let not to that, self-murder added be,
And sacrilege, three sins in killing three.
Cruel and sudden, hast thou since
Purpled thy nail, in blood of innocence?
Wherein could this flea guilty be,
Except in that drop which it sucked from thee?
Yet thou triumph’st, and say'st that thou
Find’st not thy self, nor me the weaker now;
’Tis true; then learn how false, fears be:
Just so much honor, when thou yield’st to me,
Will waste, as this flea’s death took life from thee.
Donne-moi quelque chose is French for "give me something." In VN’s novel Camera Obscura (1933) the little boy in Horn’s and Magda’s train 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)
In Rouginard Axel Rex (Horn's name in Laughter in the Dark, 1938, the English version of Camera Obscura) is playing poker with a couple of Americans and a Russian on the terrace:
Горн играл в покер на террасе, под тенью платана. Ему очень не везло. Только что он попался с так называемой «полной рукой» против «масти» и «карре». Он уже подумывал, не бросить ли и не пойти ли проведать на теннисе Магду, которая прилежно отправилась учиться бэк-хэнду у американского игрока, – он уже серьезно подумывал об этом, как вдруг сквозь кусты сада по дороге около гаража увидел автомобиль Кречмара; автомобиль неуклюже взял поворот и скрылся. «В чем дело, в чем дело…» – пробормотал Горн и, расплатившись (он проиграл немало), пошел искать Магду. На теннисе ее не оказалось. Он поднялся наверх. Дверь в номер Кречмара была открыта. Пусто, валяются листы газет, обнажен красный матрац на двуспальной кровати.
Он потянул нижнюю губу двумя пальцами по скверной своей привычке и прошел в свою комнату, предполагая, что найдет там записку. Записки никакой не было. Недоумевая, он спустился в холл. Молодой черноволосый француз с орлиным носом, некий Monsieur Martin, не раз танцевавший с Магдой, посмотрел через газету на Горна и, улыбнувшись, сказал: «Жалко, что они уехали. Почему так внезапно? Назад в Германию?» Горн издал неопределенно-утвердительный звук. (chapter XXVIII)
Rex was playing poker with a couple of Americans and a Russian on the terrace, in the shade of a giant eucalyptus. Luck was against him that morning. He was just contemplating doing a little palming at his next shuffle, or perhaps using in a certain private manner the mirror inside his cigarette-case lid (little tricks that he disliked and used only when playing with tyros), when suddenly beyond the magnolias, in the road near the garage, he saw Albinus' car. The car swerved awkwardly and disappeared.
"What's up?" murmured Rex. "Who's driving that car?"
He paid his debts and went to look for Margot. She was not on the tennis-ground, she was not in the garden. He went upstairs. Albinus' door was ajar. The room was dead, the open wardrobe empty; empty, too, the glass shelf above the wash-stand. A torn and crumpled newspaper lay on the floor.
Rex pulled at his underlip and passed into his own room. He thought--rather vaguely--that he might find a note there with some explanation. There was nothing, of course. He clicked his tongue and went down into the hall--to find out whether, at least, they had paid for his room. (Chapter 30)
Shuffling the deck, Van does a little palming. A cardsharp, Dick C. is a "a man of many mirrors:"
Sometime during the winter of 1886-7, at dismally cold Chose, in the course of a poker game with two Frenchmen and a fellow student whom we shall call Dick, in the latter’s smartly furnished rooms in Serenity Court, he noticed that the French twins were losing not only because they were happily and hopelessly tight, but also because milord was that ‘crystal cretin’ of Plunkett’s vocabulary, a man of many mirrors — small reflecting surfaces variously angled and shaped, glinting discreetly on watch or signet ring, dissimulated like female fireflies in the undergrowth, on table legs, inside cuff or lapel, and on the edges of ashtrays, whose position on adjacent supports Dick kept shifting with a negligent air — all of which, as any card sharper might tell you, was as dumb as it was redundant. (1.28)