At the beginning of VN's novel Ada (1969), Van Veen (the narrator and main character) mentions the Severn Tories (Severnïya Territorii), that tesselated protectorate still lovingly called ‘Russian’ Estoty, which commingles, granoblastically and organically, with ‘Russian’ Canady, otherwise ‘French’ Estoty:
‘All happy families are more or less dissimilar; all unhappy ones are more or less alike,’ says a great Russian writer in the beginning of a famous novel (Anna Arkadievitch Karenina, transfigured into English by R.G. Stonelower, Mount Tabor Ltd., 1880). That pronouncement has little if any relation to the story to be unfolded now, a family chronicle, the first part of which is, perhaps, closer to another Tolstoy work, Detstvo i Otrochestvo (Childhood and Fatherland, Pontius Press, 1858).
Van’s maternal grandmother Daria (‘Dolly’) Durmanov was the daughter of Prince Peter Zemski, Governor of Bras d’Or, an American province in the Northeast of our great and variegated country, who had married, in 1824, Mary O’Reilly, an Irish woman of fashion. Dolly, an only child, born in Bras, married in 1840, at the tender and wayward age of fifteen, General Ivan Durmanov, Commander of Yukon Fortress and peaceful country gentleman, with lands in the Severn Tories (Severnïya Territorii), that tesselated protectorate still lovingly called ‘Russian’ Estoty, which commingles, granoblastically and organically, with ‘Russian’ Canady, otherwise ‘French’ Estoty, where not only French, but Macedonian and Bavarian settlers enjoy a halcyon climate under our Stars and Stripes. (1.1)
Darkbloom (‘Notes to Ada’): All happy families etc: mistranslations of Russian classics are ridiculed here. The opening sentence of Tolstoy’s novel is turned inside out and Anna Arkadievna’s patronymic given an absurd masculine ending, while an incorrect feminine one is added to her surname. ‘Mount Tabor’ and ‘Pontius’ allude to the transfigurations (Mr G. Steiner’s term, I believe) and betrayals to which great texts are subjected by pretentious and ignorant versionists.
Severnïya Territorii: Northern Territories. Here and elsewhere transliteration is based on the old Russian orthography.
granoblastically: in a tesselar (mosaic) jumble.
Estoty seems to hint at estote, second-person plural future active imperative of sum ("am" in Latin). Contenti estote is an article by Alexander Herzen (a Russian writer and thinker, 1812-1870) that appeared in the Paris radical newspaper La Voix du Peuple ("The Voice of the People") on Feb. 22, 1850:
La Suisse entend raison. Chaque jour nous apporte une nouvelle preuve de la conversion sincère des cantons et des sommités du pouvoir fédéral. Les Furrer, les Druey se surpassent les uns les autres.
Ce matin le National nous raconte une histoire dégoûtante. Il s’agit des tracasseries qu’on a fait subir à Zurich à un enfant sourd-muet âgé de six ans, qui était simplement suspect d’être le fils d’un réfugié. On a demandé, d’une manière très grossière, un cautionnement «destiné, comme dit le National, à garantir que l’enfant ne porterait aucune atteinte à la sécurité des gouvernements voisins».
L’histoire est parfaitement vraie; un de nos correspondants de Berne nous écrit aujourd’hui à ce sujet. Mais admirez l’ironie: dans leur zèle sans exemple pour servir la police de tous les Etats, les braves Zuricois se sont trompés: le père de l’enfant n’est pas réfugié.
La direction de l’institut n’a pris aucune part, ni en bien ni en mal, à toute l’histoire.
Et la Suisse pense qu’elle sera quelque chose par ces lâches concessions! Qu’elle gagnera le pardon pour la Démocratie en s’abaissant! — Pauvre Suisse! on l’avilira aux yeux du monde, et lorsque toute sympathie pour elle se changera en mépris — on l’envahira, on la supprimera. Pourquoi pas? — Il semble que ce pays tient à être tout bonnement le suisse des nations, gardant l’entrée de toutes les frontières et refusant le cordon à ceux qui déplaisent aux maîtres, aux Radetzky, au roi de Prusse etc., etc.
A Latin phrase that means "be content," "be satisfied," contenti estote brings to mind the last lines of Alexander Blok's poem Golos iz khora ("Voice from Choir," 1910-14):
Как часто плачем — вы и я —
Над жалкой жизнию своей!
О, если б знали вы, друзья,
Холод и мрак грядущих дней!
Теперь ты милой руку жмешь,
Играешь с нею, шутя,
И плачешь ты, заметив ложь,
Или в руке любимой нож,
Дитя, дитя!
Лжи и коварству меры нет,
А смерть — далека.
Всё будет чернее страшный свет,
И всё безумней вихрь планет
Еще века, века!
И век последний, ужасней всех,
Увидим и вы и я.
Всё небо скроет гнусный грех,
На всех устах застынет смех,
Тоска небытия...
Весны, дитя, ты будешь ждать —
Весна обманет.
Ты будешь солнце на небо звать —
Солнце не встанет.
И крик, когда ты начнешь кричать,
Как камень, канет...
Будьте ж довольны жизнью своей,
Тише воды, ниже травы!
О, если б знали, дети, вы,
Холод и мрак грядущих дней!
We weep, how often, I and you,
Over our lives’ poor pitiful ways, —
But if, my friends, we only knew
The cold and gloom of coming days!
To-day your darling’s hand you press,
You played with her and smiled;
You weep to find untruthfulness,
Or in your hands a knife caress,
Poor child, poor child!
There is no end to craft or lies;
No sign of death appears.
A blacker light will blind the eyes,
And madder planets sweep the skies
For years, for years!
The last age shall be worst of all,
And you and I shall see
The sky wrapped in a guilty pall;
Laughter on lips shall freeze and fall, —
Anguish of Not-to-be. . . .
You wait for spring, my child, but none
Will greet your eyes.
To heaven you call out for the sun, —
No sun will rise.
You cry, but crying, like a stone,
Falls down and dies.
Be happy with your lives and ways, —
Stiller than water, low as grass.
Oh if we knew what comes to pass,
The cold and gloom of coming days!
(tr. C. M. Bowra)
The proverbial phrase tishe vody, nizhe travy ("quieter than water, lower than grass") was used by Dostoevski in his first novel (written in epistolary form) Bednye lyudi ("Poor Folk," 1846):
Маменька его очень любила. Но старик ненавидел Анну Фёдоровну, хотя был пред нею тише воды, ниже травы.
Mama was very fond of him. But the old man hated Anna Fyodorovna, though he was as quiet as a mouse and humbler than dust in her presence.
In the old Russian alphabet, the letter L was called lyudi. Chronologically, the Antiterran L disaster in the beau milieu of the 19th century seems to correspond to the mock execution of Fyodor Dostoevski (a Russian writer, 1821-1881) and the Petrashevskians on Jan. 3, 1850 (NS), in our world:
The details of the L disaster (and I do not mean Elevated) in the beau milieu of last century, which had the singular effect of both causing and cursing the notion of ‘Terra,’ are too well-known historically, and too obscene spiritually, to be treated at length in a book addressed to young laymen and lemans — and not to grave men or gravemen.
Of course, today, after great anti-L years of reactionary delusion have gone by (more or less!) and our sleek little machines, Faragod bless them, hum again after a fashion, as they did in the first half of the nineteenth century, the mere geographic aspect of the affair possesses its redeeming comic side, like those patterns of brass marquetry, and bric-à-Braques, and the ormolu horrors that meant ‘art’ to our humorless forefathers. For, indeed, none can deny the presence of something highly ludicrous in the very configurations that were solemnly purported to represent a varicolored map of Terra. Ved’ (‘it is, isn’t it’) sidesplitting to imagine that ‘Russia,’ instead of being a quaint synonym of Estoty, the American province extending from the Arctic no longer vicious Circle to the United States proper, was on Terra the name of a country, transferred as if by some sleight of land across the ha-ha of a doubled ocean to the opposite hemisphere where it sprawled over all of today’s Tartary, from Kurland to the Kuriles! But (even more absurdly), if, in Terrestrial spatial terms, the Amerussia of Abraham Milton was split into its components, with tangible water and ice separating the political, rather than poetical, notions of ‘America’ and ‘Russia,’ a more complicated and even more preposterous discrepancy arose in regard to time — not only because the history of each part of the amalgam did not quite match the history of each counterpart in its discrete condition, but because a gap of up to a hundred years one way or another existed between the two earths; a gap marked by a bizarre confusion of directional signs at the crossroads of passing time with not all the no-longers of one world corresponding to the not-yets of the other. It was owing, among other things, to this ‘scientifically ungraspable’ concourse of divergences that minds bien rangés (not apt to unhobble hobgoblins) rejected Terra as a fad or a fantom, and deranged minds (ready to plunge into any abyss) accepted it in support and token of their own irrationality.
As Van Veen himself was to find out, at the time of his passionate research in terrology (then a branch of psychiatry) even the deepest thinkers, the purest philosophers, Paar of Chose and Zapater of Aardvark, were emotionally divided in their attitude toward the possibility that there existed’ a distortive glass of our distorted glebe’ as a scholar who desires to remain unnamed has put it with such euphonic wit. (Hm! Kveree-kveree, as poor Mlle L. used to say to Gavronsky. In Ada’s hand.)
There were those who maintained that the discrepancies and ‘false overlappings’ between the two worlds were too numerous, and too deeply woven into the skein of successive events, not to taint with trite fancy the theory of essential sameness; and there were those who retorted that the dissimilarities only confirmed the live organic reality pertaining to the other world; that a perfect likeness would rather suggest a specular, and hence speculatory, phenomenon; and that two chess games with identical openings and identical end moves might ramify in an infinite number of variations, on one board and in two brains, at any middle stage of their irrevocably converging development.
The modest narrator has to remind the rereader of all this, because in April (my favorite month), 1869 (by no means a mirabilic year), on St George’s Day (according to Mlle Larivière’s maudlin memoirs) Demon Veen married Aqua Veen — out of spite and pity, a not unusual blend.
Was there some additional spice? Marina, with perverse vainglory, used to affirm in bed that Demon’s senses must have been influenced by a queer sort of ‘incestuous’ (whatever that term means) pleasure (in the sense of the French plaisir, which works up a lot of supplementary spinal vibrato), when he fondled, and savored, and delicately parted and defiled, in unmentionable but fascinating ways, flesh (une chair) that was both that of his wife and that of his mistress, the blended and brightened charms of twin peris, an Aquamarina both single and double, a mirage in an emirate, a germinate gem, an orgy of epithelial alliterations.
Actually, Aqua was less pretty, and far more dotty, than Marina. During her fourteen years of miserable marriage she spent a broken series of steadily increasing sojourns in sanatoriums. A small map of the European part of the British Commonwealth — say, from Scoto-Scandinavia to the Riviera, Altar and Palermontovia — as well as most of the U.S.A., from Estoty and Canady to Argentina, might be quite thickly prickled with enameled red-cross-flag pins, marking, in her War of the Worlds, Aqua’s bivouacs. She had plans at one time to seek a modicum of health (‘just a little grayishness, please, instead of the solid black’) in such Anglo-American protectorates as the Balkans and Indias, and might even have tried the two Southern Continents that thrive under our joint dominion. Of course, Tartary, an independent inferno, which at the time spread from the Baltic and Black seas to the Pacific Ocean, was touristically unavailable, though Yalta and Altyn Tagh sounded strangely attractive... But her real destination was Terra the Fair and thither she trusted she would fly on libellula long wings when she died. Her poor little letters from the homes of madness to her husband were sometimes signed: Madame Shchemyashchikh-Zvukov (‘Heart rending-Sounds’). (1.3)
Darkbloom (‘Notes to Ada’): beau milieu: right in the middle.
Faragod: apparently, the god of electricity.
braques: allusion to a bric-à-brac painter.
In the first line of his poem Priblizhaetsya zvuk... (“A sound approaches,” 1912) Alexander Blok (a Russian poet, 1880-1921) mentions shchemyashchiy zvuk (a heart-rending sound):
Приближается звук. И, покорна щемящему звуку,
Молодеет душа.
И во сне прижимаю к губам твою прежнюю руку,
Не дыша.
Снится - снова я мальчик, и снова любовник,
И овраг, и бурьян,
И в бурьяне - колючий шиповник,
И вечерний туман.
Сквозь цветы, и листы, и колючие ветки, я знаю,
Старый дом глянет в сердце моё,
Глянет небо опять, розовея от краю до краю,
И окошко твоё.
Этот голос - он твой, и его непонятному звуку
Жизнь и горе отдам,
Хоть во сне твою прежнюю милую руку
Прижимая к губам.
In the poem's last stanza Blok mentions golos (voice). In his essay V zashchitu A. Bloka (“In Defense of A. Blok,” 1931) Nikolai Berdyaev (a Russian philosopher, 1874-1948) points out that poetry’s greatest and most painful problem is that it relates but to a small degree to the Logos, it relates rather to the Cosmos:
Можно было бы показать, что все почти поэты мира, величайшие и наиболее несомненные, находились в состоянии «прелести», им не дано было ясного и чистого созерцания Бога и мира умных сущностей, их созерцания всегда почти были замутнены космическим прельщением. Если для Данте сделают исключение, то не за Беатриче, а за ад, в который он столь многих послал. Это есть самая большая и мучительная проблема поэзии: она лишь в очень малой степени причастна Логосу, она причастна Космосу.
It may seem, that almost all the poetry of the world, even the without doubt greatest, is situated in a condition of “prelest’-bewitchment”, that there was not granted it a clear and pure contemplation of God and the world of intelligible entities, their contemplation almost always having been muddled by a cosmic allure. If an exception be made for Dante, then it is not because of Beatrice, but because of the Inferno, into which he dispatched so many. This is a very great and tortuous problem that involves poetry: it relates but to a small degree to the Logos, it relates rather to the Cosmos.
Beatrice Severn is a character (the secretary sent from London to assist Jim Wormold, a vacuum cleaner salesman who is recruited by the British Intelligence Service) in Graham Greene's novel Our Man in Havana (1958). When Van visits Philip Rack (Lucette's music teacher who was poisoned by his jealous wife Elsie) in Ward Five of the Kalugano hospital (where hopeless cases are kept), male nurse Dorofey reads the Russian-language newspaper Golos (Logos):
For half a minute Van was sure that he still lay in the car, whereas actually he was in the general ward of Lakeview (Lakeview!) Hospital, between two series of variously bandaged, snoring, raving and moaning men. When he understood this, his first reaction was to demand indignantly that he be transferred to the best private palata in the place and that his suitcase and alpenstock be fetched from the Majestic. His next request was that he be told how seriously he was hurt and how long he was expected to remain incapacitated. His third action was to resume what constituted the sole reason of his having to visit Kalugano (visit Kalugano!). His new quarters, where heartbroken kings had tossed in transit, proved to be a replica in white of his hotel apartment — white furniture, white carpet, white sparver. Inset, so to speak, was Tatiana, a remarkably pretty and proud young nurse, with black hair and diaphanous skin (some of her attitudes and gestures, and that harmony between neck and eyes which is the special, scarcely yet investigated secret of feminine grace fantastically and agonizingly reminded him of Ada, and he sought escape from that image in a powerful response to the charms of Tatiana, a torturing angel in her own right. Enforced immobility forbade the chase and grab of common cartoons. He begged her to massage his legs but she tested him with one glance of her grave, dark eyes — and delegated the task to Dorofey, a beefy-handed male nurse, strong enough to lift him bodily out of bed. with the sick child clasping the massive nape. When Van managed once to twiddle her breasts, she warned him she would complain if he ever repeated what she dubbed more aptly than she thought ‘that soft dangle.’ An exhibition of his state with a humble appeal for a healing caress resulted in her drily remarking that distinguished gentlemen in public parks got quite lengthy prison terms for that sort of thing. However, much later, she wrote him a charming and melancholy letter in red ink on pink paper; but other emotions and events had intervened, and he never met her again). His suitcase promptly arrived from the hotel; the stick, however, could not be located (it must be climbing nowadays Wellington Mountain, or perhaps, helping a lady to go ‘brambling’ in Oregon); so the hospital supplied him with the Third Cane, a rather nice, knotty, cherry-dark thing with a crook and a solid black-rubber heel. Dr Fitzbishop congratulated him on having escaped with a superficial muscle wound, the bullet having lightly grooved or, if he might say so, grazed the greater serratus. Doc Fitz commented on Van’s wonderful recuperational power which was already in evidence, and promised to have him out of disinfectants and bandages in ten days or so if for the first three he remained as motionless as a felled tree-trunk. Did Van like music? Sportsmen usually did, didn’t they? Would he care to have a Sonorola by his bed? No, he disliked music, but did the doctor, being a concert-goer, know perhaps where a musician called Rack could be found? ‘Ward Five,’ answered the doctor promptly. Van misunderstood this as the title of some piece of music and repeated his question. Would he find Rack’s address at Harper’s music shop? Well, they used to rent a cottage way down Dorofey Road, near the forest, but now some other people had moved in. Ward Five was where hopeless cases were kept. The poor guy had always had a bad liver and a very indifferent heart, but on top of that a poison had seeped into his system; the local ‘lab’ could not identify it and they were now waiting for a report, on those curiously frog-green faeces, from the Luga people. If Rack had administered it to himself by his own hand, he kept ‘mum’; it was more likely the work of his wife who dabbled in Hindu-Andean voodoo stuff and had just had a complicated miscarriage in the maternity ward. Yes, triplets — how did he guess? Anyway, if Van was so eager to visit his old pal it would have to be as soon as he could be rolled to Ward Five in a wheelchair by Dorofey, so he’d better apply a bit of voodoo, ha-ha, on his own flesh and blood.
That day came soon enough. After a long journey down corridors where pretty little things tripped by, shaking thermometers, and first an ascent and then a descent in two different lifts, the second of which was very capacious with a metal-handled black lid propped against its wall and bits of holly or laurel here and there on the soap-smelling floor, Dorofey, like Onegin’s coachman, said priehali (‘we have arrived’) and gently propelled Van, past two screened beds, toward a third one near the window. There he left Van, while he seated himself at a small table in the door corner and leisurely unfolded the Russian-language newspaper Golos (Logos). (1.42)
Darkbloom ('Notes to Ada'): palata: Russ., ward.
When Andrey Vinelander (Ada’s husband) falls ill, his sister Dorothy reads to him old issues of the Golos Feniksa:
Much to Van’s amusement (the tasteless display of which his mistress neither condoned nor condemned), Andrey was laid up with a cold for most of the week. Dorothy, a born nurser, considerably surpassed Ada (who, never being ill herself, could not stand the sight of an ailing stranger) in readiness of sickbed attendance, such as reading to the sweating and suffocating patient old issues of the Golos Feniksa; but on Friday the hotel doctor bundled him off to the nearby American Hospital, where even his sister was not allowed to Visit him ‘because of the constant necessity of routine tests’ — or rather because the poor fellow wished to confront disaster in manly solitude.
During the next few days, Dorothy used her leisure to spy upon Ada. The woman was sure of three things: that Ada had a lover in Switzerland; that Van was her brother; and that he was arranging for his irresistible sister secret trysts with the person she had loved before her marriage. The delightful phenomenon of all three terms being true, but making nonsense when hashed, provided Van with another source of amusement.
The Three Swans overwinged a bastion. Anyone who called, flesh or voice, was told by the concierge or his acolytes that Van was out, that Madame André Vinelander was unknown, and that all they could do was to take a message. His car, parked in a secluded bosquet, could not betray his presence. In the forenoon he regularly used the service lift that communicated directly with the backyard. Lucien, something of a wit, soon learned to recognize Dorothy’s contralto: ‘La voix cuivrée a téléphoné,’ ‘La Trompette n’était pas contente ce matin,’ et cetera. Then the friendly Fates took a day off. (3.8)
Darkbloom (‘Notes to Ada’): Golos etc.: Russ., The Phoenix Voice, Russian language newspaper in Arizona.
la voix etc.: the brassy voice telephoned... the trumpet did not sound pleased this morning.
Describing his failed visit to Villa Venus (Eric Veen's floramors), Van metnions peripatetic Russian newspaper readers slowing down to a trance stop and then strolling again behind their wide open Estotskiya Vesti:
Nightingales sang, when he arrived at his fabulous and ignoble destination. As usual, he experienced a surge of brutal elation as the car entered the oak avenue between two rows of phallephoric statues presenting arms. A welcome habitué of fifteen years’ standing, he had not bothered to ‘telephone’ (the new official term). A searchlight lashed him: Alas, he had come on a ‘gala’ night!
Members usually had their chauffeurs park in a special enclosure near the guardhouse, where there was a pleasant canteen for servants, with nonalcoholic drinks and a few inexpensive and homely whores. But that night several huge police cars occupied the garage boxes and overflowed into an adjacent arbor. Telling Kingsley to wait a moment under the oaks, Van donned his bautta and went to investigate. His favorite walled walk soon took him to one of the spacious lawns velveting the approach to the manor. The grounds were lividly illuminated and as populous as Park Avenue — an association that came very readily, since the disguises of the astute sleuths belonged to a type which reminded Van of his native land. Some of those men he even knew by sight — they used to patrol his father’s club in Manhattan whenever good Gamaliel (not reelected after his fourth term) happened to dine there in his informal gagality. They mimed what they were accustomed to mime — grapefruit vendors, black hawkers of bananas and banjoes, obsolete, or at least untimely, ‘copying clerks’ who hurried in circles to unlikely offices, and peripatetic Russian newspaper readers slowing down to a trance stop and then strolling again behind their wide open Estotskiya Vesti. Van remembered that Mr Alexander Screepatch, the new president of the United Americas, a plethoric Russian, had flown over to see King Victor; and he correctly concluded that both were now sunk in mollitude. The comic side of the detectives’ display (befitting, perhaps, their dated notion of an American sidewalk, but hardly suiting a weirdly illuminated maze of English hedges) tempered his disappointment as he shuddered squeamishly at the thought of sharing the frolics of historical personages or contenting himself with the brave-faced girlies they had started to use and rejected.
Here a bedsheeted statue attempted to challenge Van from its marble pedestal but slipped and landed on its back in the bracken. Ignoring the sprawling god, Van returned to the still-throbbing jolls-joyce. Purple-jowled Kingsley, an old tried friend, offered to drive him to another house, ninety miles north; but Van declined upon principle and was taken back to the Albania. (3.4)
Darkbloom (‘Notes to Ada’): Vesti: Russ., News.