Describing the method of his work, Van Veen (the narrator and main character in Ada) mentions some farcical 'influence of environment' endorsed by Marx pre:

 

Van Veen [as also, in his small way, the editor of Ada] liked to change his abode at the end of a section or chapter or even paragraph, and he had almost finished a difficult bit dealing with the divorce between time and the contents of time (such as action on matter, in space, and the nature of space itself) and was contemplating moving to Manhattan (that kind of switch being a reflection of mental rubrication rather than a concession to some farcical 'influence of environment' endorsed by Marx pre, the popular author of 'historical' plays), when he received an unexpected dorophone call which for a moment affected violently his entire pulmonary and systemic circulation. (2.5)

 

At the beginning of Tolstoys story Posle bala (After the Ball, 1903) the narrator mentions sreda (environment) and sluchay (chance):

 

ӧ ԧӧڧ, ֧ݧӧ֧ ߧ ާا֧ ѧ ֧ҧ ߧ, , էߧ, ӧ է֧ݧ ֧է, ֧է ٧ѧ֧էѧ֧. էާѧ, ӧ է֧ݧ ݧѧ. ӧ ֧ҧ ܧѧا.

And you say that a man cannot, of himself, understand what is good and evil; that it is all environment, that the environment swamps the man. But I believe it is all chance. Take my own case . . .

 

In VNs story Soglyadatay (The Eye, 1930) the narrator says that everything is vacillating, everything is due to chance and in vain have been the efforts of that ramshackle and grumbling bourgeois in Victorian check trousers, who wrote the obscure work called 'Capital' a fruit of insomnia and megrim:

 

ݧ ڧܧѧ ٧ѧܧߧ, ֧ ԧݧ֧ ֧ԧ ߧѧۧ. ѧէާѧ֧ ߧڧڧ է, ӧ֧ ֧ݧӧ֧֧ӧ ާاߧ ҧߧڧ ܧѧӧ֧٧ߧ ڧԧ ݧѧߧ֧ ڧݧ ҧҧ ԧ ԧߧѧҧڧ ا֧ݧէܧ, ڧԧݧѧڧ ҧԧڧߧ ݧڧ ѧܧܧѧߧԧ ֧ܧ֧ѧڧܧ ڧ ާ֧ѧ, ܧ֧ ӧ ԧӧݧ ѧާ, ߧѧէߧާ ާѧѧާ, ԧէ ߧ֧էҧӧѧ է֧ݧߧާ ڧߧէڧӧڧէާ, ֧ԧ էӧާ ҧ֧էߧާ "", ҧ֧٧ߧѧէ֧اߧ ѧܧѧڧާڧ ѧҧ ܧߧާڧ֧ܧڧ ڧڧ. ѧ, ٧ѧܧߧ ߧڧܧѧܧԧ ߧ֧, -- ٧ҧߧѧ ҧݧ ڧԧӧѧ֧ ҧڧӧ, էاէݧڧӧ է֧ߧק ާ֧ߧ֧ ߧѧާ֧֧ߧߧ ާ֧, -- ӧ ٧ҧܧ, ӧ ݧѧ,   ߧѧѧߧ ѧѧݧ ѧݧҧѧߧߧ ҧ٧ԧݧڧӧ ҧا ܧݧ֧ѧ ѧߧѧ ӧ֧ާק ڧܧڧ, ߧѧڧѧӧڧ קާߧ "ѧڧѧ" -- ݧ ҧ֧ߧߧڧ ާڧԧ֧ߧ.

 

That ramshackle and grumbling bourgeois in Victorian check trousers is Karl Marx. Marx pre mentioned by Van seems to hint at Shaxpere, the author of history plays whom Tolstoy disliked. Demon Veen (Vans and Adas father) married Marinas twin sister Aqua (afflicted with her usual vernal migraine) on Shakespeares birthday:

 

On April 23, 1869, in drizzly and warm, gauzy and green Kaluga, Aqua, aged twenty-five and afflicted with her usual vernal migraine, married Walter D. Veen, a Manhattan banker of ancient Anglo-Irish ancestry who had long conducted, and was soon to resume intermittently, a passionate affair with Marina. (1.1)

 

Some confusion ensued less than two years later (September, 1871 her proud brain still retained dozens of dates) when upon escaping from her next refuge and somehow reaching her husbands unforgettable country house (imitate a foreigner: Signor Konduktor, ay vant go Lago di Luga, hier geld) she took advantage of his being massaged in the solarium, tiptoed into their former bedroom and experienced a delicious shock: her talc powder in a half-full glass container marked colorfully Quelques Fleurs still stood on her bedside table; her favorite flame-colored nightgown lay rumpled on the bedrug; to her it meant that only a brief black nightmare had obliterated the radiant fact of her having slept with her husband all along ever since Shakespeares birthday on a green rainy day, but for most other people, alas, it meant that Marina (after G.A. Vronsky, the movie man, had left Marina for another long-lashed Khristosik as he called all pretty starlets) had conceived, cest bien le cas de le dire, the brilliant idea of having Demon divorce mad Aqua and marry Marina who thought (happily and correctly) she was pregnant again. (1.3)

 

Aqua married Demon on a green rainy day. According to Smurov (the narrator and main character in The Eye), a rainy day cancels a proposed insurrection.

 

Marinas talc powder brings to mind the talc powder with which Magda (a character in VNs novel Kamera Obskura, 1932) strews herself after she had sex with Horn in the bathroom (shared by the inmates of two hotel rooms):

 

ߧ ӧڧݧѧ ڧ ӧѧߧߧ ҧէѧ, ڧѧ ѧݧ ѧ ѧݧܧ. ֧ާѧ ӧ ֧֧է ק ܧѧ - ѧ ҧݧ ӧ ֧ߧ ާܧ. է ѧ ߧ. " ӧѧ ߧ ٧ѧէ֧ا, - ܧѧ٧ѧ ֧֧ էӧ֧. - ֧ۧѧ ҧէ֧ ӧҧէߧ". "ѧݧۧ, ӧѧݧۧ", - ֧٧ӧѧۧߧ ӧ֧֧ݧ ӧ֧ڧ . (chapter XXV)

 

The characters of Kamera obskura (translated into English as Laughter in the Dark) include Dietrich Segelkranz, the writer whom Magda calls your dear Rosenkranz:

 

ѧ ֧ҧ ԧէߧ, - ܧѧ٧ѧݧ ѧԧէ. - ݧܧ էާѧ, ܧѧܧӧ ާߧ, - ܧߧ֧ߧ, ߧ֧ӧѧاߧ, ܧҧݧ֧ߧ ҧ ӧڧ ާڧݧ ٧֧ߧܧѧߧ֧. , ݧѧէߧ, ݧѧէߧ, էѧӧѧ ܧݧѧէӧѧ". (chapter XXVIII)


Rosencrantz and Guildenstern are characters in Shakespeares Hamlet (Hamlets former fellow students).

In Segelkranzs novella that he reads to Kretschmar the boy asks his mother to give him an orange, a little piece of orange:

 

ܧߧ, ߧ ݧ֧ӧ ݧ, ѧקݧѧ ԧާߧѧ ا֧ߧڧߧ ѧ, ާԧڧ ҧ, ٧ѧѧӧݧڧ էާѧ ܧާڧݧڧѧ ӧ֧ݧڧܧѧߧ, ڧݧڧߧܧڧ ާݧѧէ֧ߧ֧, ا ٧ҧѧ, ҧ ާا֧, ا ѧէѧڧ, ܧѧ ֧ۧѧ ѧէѧ ֧ާѧ. է ا֧ߧڧߧ ڧէ֧, ҧݧѧ ߧԧѧާ, ާѧݧڧ, ߧ֧اڧէѧߧߧ ݧ ӧӧ ߧ اڧ, - ӧ ݧѧڧ ԧݧ: "ѧ ާߧ ѧ֧ݧڧ, ܧ֧ ѧ֧ݧڧߧ", - ҧݧ էӧڧߧ ֧էѧӧڧ ֧ҧ ܧڧݧ, ݧ֧էߧ ֧ݧ ѧ֧ݧڧߧ, ѧէѧ֧ ߧ ҧݧߧ ٧. (Chapter XXVII)

 

A couple of days ago Segelkranz was traveling by train and heard a little boy in his train compartment repeat in French: Donne - moi une orange, un tout petit bout dorange:

 

اѧ ֧ ܧ. ߧ ӧ٧էߧݧ , ѧ ܧѧ اѧ ֧ ѧ٧ާѧݧ, ݧاڧݧ ԧݧӧ ֧ާ ߧ ݧ֧, էݧاѧ ߧ֧اߧ קاڧ ԧӧڧ, - ӧ ѧӧߧ ѧߧ٧ ܧ ߧ ާԧݧ ߧ. ܧߧ ڧէ֧ݧ ݧѧ ѧѧ ا֧ߧڧߧ קߧ, է ߧ֧ ާѧݧڧ, ܧ ӧ ӧ: "Donne - moi une orange, un tout petit bout dorange!" "Fiche - moi la paiz", - ӧ֧ѧݧ ާѧ. ٧ѧާݧܧѧ ߧѧڧߧѧ ܧݧڧ ٧ߧӧ. ӧ ާݧէ ѧߧ٧ ڧ ҧاէѧݧ ӧԧէ ѧӧާҧڧݧߧԧ է֧ݧ; էߧԧ ڧ ߧڧ ҧݧ ڧݧߧ֧ۧѧ ٧ҧߧѧ ҧݧ, ֧ܧ ҧݧ ӧ٧ѧߧ, ڧ٧էѧӧѧ ڧ ٧ӧ, ֧֧ܧѧڧӧѧ . ާ ڧ ѧԧէ ڧէ֧ ާѧݧ֧ߧܧڧ ݧ ԧէڧ ܧѧ, קߧ ٧ѧڧߧ ܧߧڧاܧ ܧ - էݧاߧ ҧ, ӧڧߧڧѧݧߧ ߧѧڧ. (Chapter XXVI)

 

Une orange brings to mind Ronald Oranger, the editor of Ada who also likes to change his abode at the end of a section or chapter or even paragraph.

 

One of Segelkranzs fellow travelers suffers from toothache. The hero of Segelkranzs novella that he reads to Kretschmar, Hermann goes to a dentist. In The Eye Smurov mentions a toothache:

 

There are no laws C a toothache looses a battle, a rainy day cancels a proposed insurrection C everything is vacillating, everything is due to chance, and in vain have been the efforts of that ramshackle and grumbling bourgeois in Victorian check trousers, who wrote the obscure work called 'Capital' a fruit of insomnia and megrim.

 

Alexey Sklyarenko

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