Describing the Night of the Burning Barn (when he and Ada make love for the first time), Van Veen (the narrator and main character in VN’s novel Ada, 1969) mentions elettricità (It., electricity) banned on Demonia (aka Antiterra, Earth's twin planet on which Ada is set) after the L disaster in the beau milieu of the 19th century:
‘I want to ask you,’ she said quite distinctly, but also quite beside herself because his ramping palm had now worked its way through at the armpit, and his thumb on a nipplet made her palate tingle: ringing for the maid in Georgian novels — inconceivable without the presence of elettricità —
(I protest. You cannot. It is banned even in Lithuanian and Latin. Ada’s note.)
‘— to ask you...’
‘Ask,’ cried Van, ‘but don’t spoil everything’ (such as feeding upon you, writhing against you).
‘Well, why,’ she asked (demanded, challenged, one flame crepitated, one cushion was on the floor), ‘why do you get so fat and hard there when you —’
‘Get where? When I what?’
In order to explain, tactfully, tactually, she belly-danced against him, still more or less kneeling, her long hair getting in the way, one eye staring into his ear (their reciprocal positions had become rather muddled by then).
‘Repeat!’ he cried as if she were far away, a reflection in a dark window.
‘You will show me at once,’ said Ada firmly.
He discarded his makeshift kilt, and her tone of voice changed immediately.
‘Oh, dear,’ she said as one child to another. ‘It’s all skinned and raw. Does it hurt? Does it hurt horribly?’
‘Touch it quick,’ he implored.
‘Van, poor Van,’ she went on in the narrow voice the sweet girl used when speaking to cats, caterpillars, pupating puppies, ‘yes, I’m sure it smarts, would it help if I’d touch, are you sure?’
‘You bet,’ said Van, ‘on n’est pas bête à ce point’ (‘there are limits to stupidity,’ colloquial and rude).
‘Relief map,’ said the primrose prig, ‘the rivers of Africa.’ Her index traced the blue Nile down into its jungle and traveled up again. ‘Now what’s this? The cap of the Red Bolete is not half as plushy. In fact’ (positively chattering), ‘I’m reminded of geranium or rather pelargonium bloom.’
‘God, we all are,’ said Van.
‘Oh, I like this texture, Van, I like it! Really I do!’
‘Squeeze, you goose, can’t you see I’m dying.’
But our young botanist had not the faintest idea how to handle the thing properly — and Van, now in extremis, driving it roughly against the hem of her nightdress, could not help groaning as he dissolved in a puddle of pleasure.
She looked down in dismay.
‘Not what you think,’ remarked Van calmly. ‘This is not number one. Actually it’s as clean as grass sap. Well, now the Nile is settled stop Speke.’ (1.19)
Darkbloom (‘Notes to Ada’): The Nile is settled: a famous telegram sent by an African explorer.
Le Leggi sull'Elettricità ("The Laws about Electricity," 1908) is a book (the definitive reference guide on electricity law) by Cesare Baldi. Describing the Ardis Hall library (where Van and Ada make love for the first time), Van mentions the opus 'Sex and Lex' and Judge Bald:
In a story by Chateaubriand about a pair of romantic siblings, Ada had not quite understood when she first read it at nine or ten the sentence ‘les deux enfants pouvaient donc s’abandonner au plaisir sans aucune crainte.’ A bawdy critic in a collection of articles which she now could gleefully consult (Les muses s’amusent) explained that the ‘donc’ referred both to the infertility of tender age and to the sterility of tender consanguinity. Van said, however, that the writer and the critic erred, and to illustrate his contention, drew his sweetheart’s attention to a chapter in the opus ‘Sex and Lex’ dealing with the effects on the community of a disastrous caprice of nature.
In those times, in this country’ incestuous’ meant not only ‘unchaste’ — the point regarded linguistics rather than legalistics — but also implied (in the phrase ‘incestuous cohabitation,’ and so forth) interference with the continuity of human evolution. History had long replaced appeals to ‘divine law’ by common sense and popular science. With those considerations in mind, ‘incest’ could be termed a crime only inasmuch as inbreeding might be criminal. But as Judge Bald pointed out already during the Albino Riots of 1835, practically all North American and Tartar agriculturists and animal farmers used inbreeding as a method of propagation that tended to preserve, and stimulate, stabilize and even create anew favorable characters in a race or strain unless practiced too rigidly. If practiced rigidly incest led to various forms of decline, to the production of cripples, weaklings, ‘muted mutates’ and, finally, to hopeless sterility. Now that smacked of ‘crime,’ and since nobody could be supposed to control judiciously orgies of indiscriminate inbreeding (somewhere in Tartary fifty generations of ever woolier and woolier sheep had recently ended abruptly in one hairless, five-legged, impotent little lamb — and the beheading of a number of farmers failed to resurrect the fat strain), it was perhaps better to ban ‘incestuous cohabitation’ altogether. Judge Bald and his followers disagreed, perceiving in ‘the deliberate suppression of a possible benefit for the sake of avoiding a probable evil’ the infringement of one of humanity’s main rights — that of enjoying the liberty of its evolution, a liberty no other creature had ever known. Unfortunately after the rumored misadventure of the Volga herds and herdsmen a much better documented fait divers happened in the U.S.A. at the height of the controversy. An American, a certain Ivan Ivanov of Yukonsk, described as an ‘habitually intoxicated laborer’ (‘a good definition,’ said Ada lightly, ‘of the true artist’), managed somehow to impregnate — in his sleep, it was claimed by him and his huge family — his five-year-old great-granddaughter, Maria Ivanov, and, then, five years later, also got Maria’s daughter, Daria, with child, in another fit of somnolence. Photographs of Maria, a ten-year old granny with little Daria and baby Varia crawling around her, appeared in all the newspapers, and all kinds of amusing puzzles were provided by the genealogical farce that the relationships between the numerous living — and not always clean-living — members of the Ivanov clan had become in angry Yukonsk. Before the sixty-year-old somnambulist could go on procreating, he was clapped into a monastery for fifteen years as required by an ancient Russian law. Upon his release he proposed to make honorable amends by marrying Daria, now a buxom lass with problems of her own. Journalists made a lot of the wedding, and the shower of gifts from well-wishers (old ladies in New England, a progressive poet in residence at Tennesee Waltz College, an entire Mexican high school, et cetera), and on the same day Gamaliel (then a stout young senator) thumped a conference table with such force that he hurt his fist and demanded a retrial and capital punishment. It was, of course, only a temperamental gesture; but the Ivanov affair cast a long shadow upon the little matter of ‘favourable inbreeding.’ By mid-century not only first cousins but uncles and grandnieces were forbidden to intermarry; and in some fertile parts of Estoty the izba windows of large peasant families in which up to a dozen people of different size and sex slept on one blin-like mattress were ordered to be kept uncurtained at night for the convenience of petrol-torch-flashing patrols — ‘Peeping Pats,’ as the anti-Irish tabloids called them. (1.21)
Darkbloom (‘Notes to Ada’): les deux enfants etc.: ‘therefore the two children could make love without any fear’.
fait divers: news item.
blin: Russ., pancake.
Judge Bald brings to mind Lysevich, in Chekhov's story Bab'ye tsarstvo ("A Woman's Kingdom," 1894) Anna Akimovna's lawyer whose name comes from lysyi (bald). The characters in Chekhov's story include Pimenov, a handsome worker whom Anna Akimovna (the factory owner) is willing to marry. The surname Pimenov comes from Pimen (a male given name). Pimen (a monk and chronicler) is a character in Pushkin's drama Boris Godunov (1825). In Pushkin's tragedy Grishka Otrepiev escapes from Russia by crossing the Lithuanian border. False Dmitri I (1582-1606) who is surrounded by latinskie popy (the Roman Catholic priests), Grigoriy loves latinskie stikhi (the Latin verses). On Demonia the term electricity is banned even in Lithuanian and Latin.
On Van's eighth birthday (Jan. 1, 1878) Demon made himself up as Boris Godunov in an amateur parody:
Demon spoke on: ‘I cannot disinherit you: Aqua left you enough "ridge" and real estate to annul the conventional punishment. And I cannot denounce you to the authorities without involving my daughter, whom I mean to protect at all cost. But I can do the next proper thing, I can curse you, I can make this our last, our last —’
Van, whose finger had been gliding endlessly to and fro along the mute but soothingly smooth edge of the mahogany desk, now heard with horror the sob that shook Demon’s entire frame, and then saw a deluge of tears flowing down those hollow tanned cheeks. In an amateur parody, at Van’s birthday party fifteen years ago, his father had made himself up as Boris Godunov and shed strange, frightening, jet-black tears before rolling down the steps of a burlesque throne in death’s total surrender to gravity. Did those dark streaks, in the present show, come from his blackening his orbits, eyelashes, eyelids, eyebrows? The funest gamester… the pale fatal girl, in another well-known melodrama…. In this one. Van gave him a clean handkerchief to replace the soiled rag. His own marble calm did not surprise Van. The ridicule of a good cry with Father adequately clogged the usual ducts of emotion.
Demon regained his composure (if not his young looks) and said:
‘I believe in you and your common sense. You must not allow an old debaucher to disown an only son. If you love her, you wish her to be happy, and she will not be as happy as she could be once you gave her up. You may go. Tell her to come here on your way down.' (2.11)
Pushkin wrote Boris Godunov in Mikhaylovskoe, the poet's family estate in the Province of Pskov. The author of a book on electricity, Cesare Baldi also makes one think of Boldino (Pushkin's family estate in the Province of Nizhniy Novgorod) and Baldy, a partly leafless but still healthy old oak at Ardis:
Those intrusions were repeated on the next two or three occasions. Lucette would come ever nearer, now picking a chanterelle and feigning to eat it raw, then crouching to capture a grasshopper or at least going through the natural motions of idle play and carefree pursuit. She would advance up to the center of the weedy playground in front of the forbidden pavilion, and there, with an air of dreamy innocence, start to jiggle the board of an old swing that hung from the long and lofty limb of Baldy, a partly leafless but still healthy old oak (which appeared — oh, I remember, Van! — in a century-old lithograph of Ardis, by Peter de Rast, as a young colossus protecting four cows and a lad in rags, one shoulder bare). When our lovers (you like the authorial possessive, don’t you, Van?) happened to look out again, Lucette was rocking the glum dackel, or looking up at an imaginary woodpecker, or with various pretty contortions unhurriedly mounting the gray-looped board and swinging gently and gingerly as if never having done it yet, while idiot Dack barked at the locked pavilion door. She increased her momentum so cannily that Ada and her cavalier, in the pardonable blindness of ascending bliss, never once witnessed the instant when the round rosy face with all its freckles aglow swooped up and two green eyes leveled at the astounding tandem. (1.34)
In Kim Beauharnais's album there is a photograph of the rare oak, Quercus ruslan Chat.:
Then came several preparatory views of the immediate grounds: the colutea circle, an avenue, the grotto’s black O, and the hill, and the big chain around the trunk of the rare oak, Quercus ruslan Chat., and a number of other spots meant to be picturesque by the compiler of the illustrated pamphlet but looking a little shabby owing to inexperienced photography. (2.7)
Describing Kim's album, Van mentions the cross and the shade of boughs above the grave of Marina’s dear housekeeper, Anna Pimenovna Nepraslinov:
Another girl (Blanche!) stooping and squatting exactly like Ada (and indeed not unlike her in features) over Van’s valise opened on the floor, and ‘eating with her eyes’ the silhouette of Ivory Revery in a perfume advertisement. Then the cross and the shade of boughs above the grave of Marina’s dear housekeeper, Anna Pimenovna Nepraslinov (1797–1883). (ibid.)
Van does not realize that the Baronial Barn burnt down, because Ada had bribed Kim (the kitchen boy and photographer at Ardis whom Van blinds for spying on him and Ada and attempting to blackmail Ada) to set it on fire:
As two last retainers, the cook and the night watchman, scurried across the lawn toward a horseless trap or break, that stood beckoning them with erected thills (or was it a rickshaw? Uncle Dan once had a Japanese valet), Van was delighted and shocked to distinguish, right there in the inky shrubbery, Ada in her long nightgown passing by with a lighted candle in one hand and a shoe in the other as if stealing after the belated ignicolists. It was only her reflection in the glass. She dropped the found shoe in a wastepaper basket and joined Van on the divan.
‘Can one see anything, oh, can one see?’ the dark-haired child kept repeating, and a hundred barns blazed in her amber-black eyes, as she beamed and peered in blissful curiosity. He relieved her of her candlestick, placing it near his own longer one on the window ledge. ‘You are naked, you are dreadfully indecent,’ she observed without looking and without any emphasis or reproof, whereupon he cloaked himself tighter, Ramses the Scotsman, as she knelt beside him. For a moment they both contemplated the romantic night piece framed in the window. He had started to stroke her, shivering, staring ahead, following with a blind man’s hand the dip of her spine through the batiste.
‘Look, gipsies,’ she whispered, pointing at three shadowy forms — two men, one with a ladder, and a child or dwarf — circumspectly moving across the gray lawn. They saw the candlelit window and decamped, the smaller one walking à reculons as if taking pictures.
‘I stayed home on purpose, because I hoped you would too — it was a contrived coincidence,’ she said, or said later she’d said — while he continued to fondle the flow of her hair, and to massage and rumple her nightdress, not daring yet to go under and up, daring, however, to mold her nates until, with a little hiss, she sat down on his hand and her heels, as the burning castle of cards collapsed. She turned to him and next moment he was kissing her bare shoulder, and pushing against her like that soldier behind in the queue. (1.19)
Darkbloom (‘Notes to Ada’): à reculons: backwards.
Rast (cf. Peter de Rast, the author of a century-old lithograph of Ardis) is tsar backwards. The Russian tsar Peter I (1672-1725) who founded St. Petersburg (VN's home city) is often called "Peter the Great." Pierre Legrand is Van's fencing master:
Van walked over to a monastic lectern that he had acquired for writing in the vertical position of vertebrate thought and wrote what follows:
Poor L.
We are sorry you left so soon. We are even sorrier to have inveigled our Esmeralda and mermaid in a naughty prank. That sort of game will never be played again with you, darling firebird. We apollo [apologize]. Remembrance, embers and membranes of beauty make artists and morons lose all self-control. Pilots of tremendous airships and even coarse, smelly coachmen are known to have been driven insane by a pair of green eyes and a copper curl. We wished to admire and amuse you, BOP (bird of paradise). We went too far. I, Van, went too far. We regret that shameful, though basically innocent scene. These are times of emotional stress and reconditioning. Destroy and forget.
Tenderly yours A & V.
(in alphabetic order).
‘I call this pompous, puritanical rot,’ said Ada upon scanning Van’s letter. ‘Why should we apollo for her having experienced a delicious spazmochka? I love her and would never allow you to harm her. It’s curious — you know, something in the tone of your note makes me really jealous for the first time in my fire [thus in the manuscript, for "life." Ed.] Van, Van, somewhere, some day, after a sunbath or dance, you will sleep with her, Van!’
‘Unless you run out of love potions. Do you allow me to send her these lines?’
‘I do, but want to add a few words.’
Her P.S. read:
The above declaration is Van’s composition which I sign reluctantly. It is pompous and puritanical. I adore you, mon petit, and would never allow him to hurt you, no matter how gently or madly. When you’re sick of Queen, why not fly over to Holland or Italy?
A.
‘Now let’s go out for a breath of crisp air,’ suggested Van. ‘I’ll order Pardus and Peg to be saddled.’
‘Last night two men recognized me,’ she said. ‘Two separate Californians, but they didn’t dare bow — with that silk-tuxedoed bretteur of mine glaring around. One was Anskar, the producer, and the other, with a cocotte, Paul Whinnier, one of your father’s London pals. I sort of hoped we’d go back to bed.’
‘We shall now go for a ride in the park,’ said Van firmly, and rang, first of all, for a Sunday messenger to take the letter to Lucette’s hotel — or to the Verma resort, if she had already left.
‘I suppose you know what you’re doing?’ observed Ada.
‘Yes,’ he answered.
‘You are breaking her heart,’ said Ada.
‘Ada girl, adored girl,’ cried Van, ‘I’m a radiant void. I’m convalescing after a long and dreadful illness. You cried over my unseemly scar, but now life is going to be nothing but love and laughter, and corn in cans. I cannot brood over broken hearts, mine is too recently mended. You shall wear a blue veil, and I the false mustache that makes me look like Pierre Legrand, my fencing master.’
‘Au fond,’ said Ada, ‘first cousins have a perfect right to ride together. And even dance or skate, if they want. After all, first cousins are almost brother and sister. It’s a blue, icy, breathless day,’
She was soon ready, and they kissed tenderly in their hallway, between lift and stairs, before separating for a few minutes.
‘Tower,’ she murmured in reply to his questioning glance, just as she used to do on those honeyed mornings in the past, when checking up on happiness: ‘And you?’
‘A regular ziggurat.’ (2.8)
Darkbloom ('Notes to Ada'): bretteur: duelling bravo.
au fond: actually.
Le Maître d'armes (The Fencing Master, 1842) is a novel by Alexandre Dumas set in Russia. Dumas is the author of Les crimes célèbres (1840), a book that brings to mind dead Demon's 'crimes' mentioned by Van when he describes the family dinner in "Ardis the Second:"
In mid-July Uncle Dan took Lucette to Kaluga where she was to stay, with Belle and French, for five days. The Lyaskan Ballet and a German circus were in town, and no child would want to miss the schoolgirls’ field-hockey and swimming matches which old Dan, a child at heart, attended religiously at that time of the year; moreover she had to undergo a series of ‘tests’ at the Tarus Hospital to settle what caused her weight and temperature to fluctuate so abnormally despite her eating so heartily and feeling so well.
On the Friday afternoon when her father planned to return with her, he also expected to bring a Kaluga lawyer to Ardis where Demon was to come too, an unusual occurrence. The business to be discussed was the sale of some ‘blue’ (peat-bog) land which belonged to both cousins and which both, for different reasons, were anxious to get rid of. As usually happened with Dan’s most carefully worked-out plans, something misfired, the lawyer could not promise to come till late in the evening, and just before Demon arrived, his cousin aerogrammed a message asking Marina to ‘dine Demon’ without waiting for Dan and Miller.
That kontretan (Marina’s humorous term for a not necessarily nasty surprise) greatly pleased Van. He had seen little of his father that year. He loved him with light-hearted devotion, had worshipped him in boyhood, and respected him staunchly now in his tolerant but better informed youth. Still later a tinge of repulsion (the same he felt in regard to his own immorality) became admixed to the love and the esteem; but, on the other hand, the older he grew the more firmly he felt that he would give his life for his father, at a moment’s notice, with pride and pleasure, in any circumstance imaginable. When Marina, in the late Eighteen-Nineties, in her miserable dotage, used to ramble on, with embarrassing and disgusting details, about dead Demon’s ‘crimes,’ he felt pity for him and her, but his indifference to Marina and his adoration for his father remained unchanged — to endure thus even now, in the chronologically hardly believable Nineteen-Sixties. No accursed generalizer, with a half-penny mind and dry-fig heart, would be able to explain (and this is my sweetest revenge for all the detractions my lifework has met with) the individual vagaries evolved in those and similar matters. No art and no genius would exist without such vagaries, and this is a final pronouncement, damning all clowns and clods. (1.38)
Darkbloom ('Notes to Ada'): Russian mispronunciation of contretemps.
Describing his childhood travels with his father, Van pairs Pushkin with Dumas:
In 1880, Van, aged ten, had traveled in silver trains with showerbaths, accompanied by his father, his father’s beautiful secretary, the secretary’s eighteen-year-old white-gloved sister (with a bit part as Van’s English governess and milkmaid), and his chaste, angelic Russian tutor, Andrey Andreevich Aksakov (‘AAA’), to gay resorts in Louisiana and Nevada. AAA explained, he remembered, to a Negro lad with whom Van had scrapped, that Pushkin and Dumas had African blood, upon which the lad showed AAA his tongue, a new interesting trick which Van emulated at the earliest occasion and was slapped by the younger of the Misses Fortune, put it back in your face, sir, she said. He also recalled hearing a cummerbunded Dutchman in the hotel hall telling another that Van’s father, who had just passed whistling one of his three tunes, was a famous ‘camler’ (camel driver — shamoes having been imported recently? No, ‘gambler’). (1.24)