Alexey
Sklyarenko: Marina Durmanov never realized that Armina, the
name of her óôtÅ d’Azure villa [...] was an anagram of marina, the feminine form of the Latin
adjective marinus, “of the sea,”
rather than of her first name (1.27). But Armina is also an anagram of Ariman (Russian for Ahriman, the Greek
name of Angra Mainyu, the evil spirit in the Iranian religion
Zoroastrianism)[...] I
won’t touch here, for the lack of time, space and language abilities, on the
flowers in Marina’s herbarium that Demon sent her
from Villa Armina and Aqua, Marina’s twin sister and Demon’s wife,
from her alpine “Nusshaus”
[...] ** In
the sense “gallows” the word glagol’
is used, for example, by Pushkin in his poem “Alfons saditsya na
konya…” (“Alphonse is mounting a horse…” 1836). Like
Pushkin’s play “The Stone Guest,” this poem is set in
Spain.
[...]******** The Latin
letter G is part of the following anagram (one of the many anagrams forming what
I call the charadoid in Ada): ANTILIA
GLEMS + GERALD + A = GITANILLA + ESMERALDA + G. Antilia Glems is a character in
Van’s novel “Letters from Terra;” Gerald is Maurice Gerald, the hero of Mayn
Reid’s Headless Horseman; la gitanilla is Spanish for “gypsy girl”
(and the title of a Cervantes novella);
Jansy Mello: In the first
place I'd like to say how much I enjoyed A.S contribution, with its
sophisticated links with Russian poetry and lore.
What strike me are the
additional devious links that pass from Spain into France, Italy and
England - and I cannot see heads nor tails from them.
The fatidic movie in "Ada", with windmills and stone guests is Don Juan's Last Fling ...
In ADA:
(a) Every time (said unruffled Ada) Pig Pigment came,
she cowered when hearing him trudge and snort and pant upstairs, ever nearer
like the Marmoreal Guest, that immemorial ghost, seeking her,
crying for her in a thin, querulous voice not in keeping with marble.; (b)
Van, however, did not understand until much later (when he saw — had to see; and
then see again and again — the entire film, with its melancholy and grotesque
ending in Donna Anna’s castle) that what seemed an incidental embrace
constituted the Stone Cuckold’s revenge.
"Gitanilla" is
(a) A gipsy, like Esmeralda was thought to be ( and through
Esmeralda we remember Victor Hugo);
(b) The
gitanes, cigarettes that evolve into "Carmen" in Seville,
and "Lolita", too.
Bizet's opera "Carmen" was based on the novel by Prosper
Merimée, i.e, Spain as seen from a French
perspective
"El
Cid", mentioned in "Lolita" comes through the French Corneille (
a reference to doña Ximena), not any Castilian cantar.
The
same happens with Don Juan: El burlador de Sevilla y convidado de
piedra, a seventeenth century play by Tirso de
Molina, reappears in the novella novella "La Gitanilla" written
by Don Quixote's author, Miguel de Cervantes (as A.S pointed out), as
"Don Giovanni" in Mozart's opera or as "Don Juan" again, in Byron's
unfinished masterpiece.
(c)
Ronald Oranger could hide a
Gerald but we are left with a strange Ron/Oran.
BTW: What is a
"charadoid"?