Describing the torments of poor mad Aqua (in VN's novel Ada, 1969, the twin sister of Van's, Ada's and Lucette's mother Marina), Van Veen quotes somebody's words that triplets and heraldic dracunculi often occur in trilingual families:
At one time Aqua believed that a stillborn male infant half a year old, a surprised little fetus, a fish of rubber that she had produced in her bath, in a lieu de naissance plainly marked X in her dreams, after skiing at full pulver into a larch stump, had somehow been saved and brought to her at the Nusshaus, with her sister’s compliments, wrapped up in blood-soaked cotton wool, but perfectly alive and healthy, to be registered as her son Ivan Veen. At other moments she felt convinced that the child was her sister’s, born out of wedlock, during an exhausting, yet highly romantic blizzard, in a mountain refuge on Sex Rouge, where a Dr Alpiner, general practitioner and gentian-lover, sat providentially waiting near a rude red stove for his boots to dry. 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 husband’s 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 Shakespeare’s 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, c’est 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. Marina had spent a rukuliruyushchiy month with him at Kitezh but when she smugly divulged her intentions (just before Aqua’s arrival) he threw her out of the house. Still later, on the last short lap of a useless existence, Aqua scrapped all those ambiguous recollections and found herself reading and rereading busily, blissfully, her son’s letters in a luxurious ‘sanastoria’ at Centaur, Arizona. He invariably wrote in French calling her petite maman and describing the amusing school he would be living at after his thirteenth birthday. She heard his voice through the nightly tinnitus of her new, planful, last, last insomnias and it consoled her. He called her usually mummy, or mama, accenting the last syllable in English, the first, in Russian; somebody had said that triplets and heraldic dracunculi often occurred in trilingual families; but there was absolutely no doubt whatsoever now (except, perhaps, in hateful long-dead Marina’s hell-dwelling mind) that Van was her, her, Aqua’s, beloved son. (1.3)
Darkbloom ('Notes to Ada'): Khristosik: little Christ (Russ.).
rukuliruyushchiy: Russ., from Fr. roucoulant, cooing.
The combination of triplets and heraldic dracunculi makes one think of Zmey Gorynych, the three-headed dragon or serpent of Russian fairy tales. Zmey (serpent; vozdushnyi zmey means "box kite;" cf. the farmannikin, a special kind of box kite, that Bouteillan, Demon's valet who became a butler at Ardis, had helped little Van to fly in a meadow dotted with buttercups) is the masculine form of zmeya (snake). Before the family dinner in "Ardis the Second" Ada uses the phrase "for the snake of rhyme" (a play on Van's words "for the sake of rhyme"):
‘Old storytelling devices,’ said Van, ‘may be parodied only by very great and inhuman artists, but only close relatives can be forgiven for paraphrasing illustrious poems. Let me preface the effort of a cousin — anybody’s cousin — by a snatch of Pushkin, for the sake of rhyme —’
‘For the snake of rhyme!’ cried Ada. ‘A paraphrase, even my paraphrase, is like the corruption of "snakeroot" into "snagrel" — all that remains of a delicate little birthwort.’
‘Which is amply sufficient,’ said Demon, ‘for my little needs, and those of my little friends.’
‘So here goes,’ continued Van (ignoring what he felt was an indecent allusion, since the unfortunate plant used to be considered by the ancient inhabitants of the Ladore region not so much as a remedy for the bite of a reptile, as the token of a very young woman’s easy delivery; but no matter). ‘By chance preserved has been the poem. In fact, I have it. Here it is: Leur chute est lente and one can know ‘em…’
'Oh, I know ‘em,’ interrupted Demon:
‘Leur chute est lente. On peut les suivre
Du regard en reconnaissant
Le chêne à sa feuille de cuivre
L’érable à sa feuille de sang
‘Grand stuff!’
‘Yes, that was Coppée and now comes the cousin,’ said Van, and he recited:
‘Their fall is gentle. The leavesdropper
Can follow each of them and know
The oak tree by its leaf of copper,
The maple by its blood-red glow.’
‘Pah!’ uttered the versionist.
‘Not at all!’ cried Demon. ‘That "leavesdropper" is a splendid trouvaille, girl.’ He pulled the girl to him, she landing on the arm of his Klubsessel, and he glued himself with thick moist lips to her hot red ear through the rich black strands. Van felt a shiver of delight. (1.38)
Darkbloom ('Notes to Ada'): By chance preserved: The verses are by chance preserved
I have them, here they are:
(Eugene Onegin, Six: XXI: 1–2)
Klubsessel: Germ., easy chair.
In March 1905 Demon Veen (Van's and Ada's father) perishes in a mysterious airplane disaster above the Pacific (Van does not suspect that his father died, because Ada, who could not pardon Demon his forcing Van to give her up, managed to persuade the pilot to destroy his machine in midair). In her letter to Van written a month before Demon's death Ada (now married to Andrey Vinelander, an Arizonian Russian) says that she is stuck in her 'tunstyle:'
He greeted the dawn of a placid and prosperous century (more than half of which Ada and I have now seen) with the beginning of his second philosophic fable, a ‘denunciation of space’ (never to be completed, but forming in rear vision, a preface to his Texture of Time). Part of that treatise, a rather mannered affair, but nasty and sound, appeared in the first issue (January, 1904) of a now famous American monthly, The Artisan, and a comment on the excerpt is preserved in one of the tragically formal letters (all destroyed save this one) that his sister sent him by public post now and then. Somehow, after the interchange occasioned by Lucette’s death such nonclandestine correspondence had been established with the tacit sanction of Demon:
And o’er the summits of the Tacit
He, banned from Paradise, flew on:
Beneath him, like a brilliant’s facet,
Mount Peck with snows eternal shone.
It would seem indeed that continued ignorance of each other’s existence might have looked more suspicious than the following sort of note:
Agavia Ranch
February 5, 1905
I have just read Reflections in Sidra, by Ivan Veen, and I regard it as a grand piece, dear Professor. The ‘lost shafts of destiny’ and other poetical touches reminded me of the two or three times you had tea and muffins at our place in the country about twenty years ago. I was, you remember (presumptuous phrase!), a petite fille modèle practicing archery near a vase and a parapet and you were a shy schoolboy (with whom, as my mother guessed, I may have been a wee bit in love!), who dutifully picked up the arrows I lost in the lost shrubbery of the lost castle of poor Lucette’s and happy, happy Adette’s childhood, now a ‘Home for Blind Blacks’ — both my mother and L., I’m sure, would have backed Dasha’s advice to turn it over to her Sect. Dasha, my sister-in-law (you must meet her soon, yes, yes, yes, she’s dreamy and lovely, and lots more intelligent than I), who showed me your piece, asks me to add she hopes to ‘renew’ your acquaintance — maybe in Switzerland, at the Bellevue in Mont Roux, in October. I think you once met pretty Miss ‘Kim’ Blackrent, well, that’s exactly dear Dasha’s type. She is very good at perceiving and pursuing originality and all kinds of studies which I can’t even name! She finished Chose (where she read History — our Lucette used to call it ‘Sale Histoire,’ so sad and funny!). For her you’re le beau ténébreux, because once upon a time, once upon libellula wings, not long before my marriage, she attended — I mean at that time, I’m stuck in my ‘turnstyle’ — one of your public lectures on dreams, after which she went up to you with her latest little nightmare all typed out and neatly clipped together, and you scowled darkly and refused to take it. Well, she’s been after Uncle Dementiy to have him admonish le beau ténébreux to come to Mont Roux Bellevue Hotel, in October, around the seventeenth, I guess, and he only laughs and says it’s up to Dashenka and me to arrange matters.
So ‘congs’ again, dear Ivan! You are, we both think, a marvelous, inimitable artist who should also ‘only laugh,’ if cretinic critics, especially lower-upper-middle-class Englishmen, accuse his turnstyle of being ‘coy’ and ‘arch,’ much as an American farmer finds the parson ‘peculiar’ because he knows Greek.
P.S.
Dushevno klanyayus’ (‘am souledly bowing’, an incorrect and vulgar construction evoking the image of a ‘bowing soul’) nashemu zaochno dorogomu professoru (‘to our "unsight-unseen" dear professor’), o kotorom mnogo slïshal (about whom have heard much) ot dobrago Dementiya Dedalovicha i sestritsï (from good Demon and my sister).
S uvazheniem (with respect),
Andrey Vaynlender (3.7)
Darkbloom ('Notes to Ada'): And o’er the summits of the Tacit etc.: parody of four lines in Lermontov’s The Demon (see also p.115).
le beau ténébreux: wrapt in Byronic gloom.
Ada's 'turnstyle' (a play on turnstile) in which she is stuck seems to confirm that in February 1905 (when she writes her letter to Van) Ada is big with child. Perhaps, she is pregnant with twins or even with triplets? Describing the patio party in "Ardis the Second," Van mentions Doc Ecksreher (a play on the X rays) who told Philip Rack (Lucette's music teacher) that his wife Elsie 'would present him with drip lets in dry weeks:'
The melancholy young German was in a philosophical mood shading into the suicidal. He had to return to Kalugano with his Elsie, who Doc Ecksreher thought ‘would present him with drip lets in dry weeks.’ He hated Kalugano, his and her home town, where in a moment of ‘mutual aberration’ stupid Elsie had given him her all on a park bench after a wonderful office party at Muzakovski’s Organs where the oversexed pitiful oaf had a good job.
‘When are you leaving?’ asked Ada.
‘Forestday — after tomorrow.’
‘Fine. That’s fine. Adieu, Mr Rack.’
Poor Philip drooped, fingerpainting sad nothings on wet stone, shaking his heavy head, gulping visibly.
‘One feels... One feels,’ he said, ‘that one is merely playing a role and has forgotten the next speech.’
‘I’m told many feel that,’ said Ada; ‘it must be a furchtbar feeling.’
‘Cannot be helped? No hope any more at all? I am dying, yes?’
‘You are dead, Mr Rack,’ said Ada. (1.28)
Darkbloom ('Notes to Ada'): Forestday: Rack’s pronunciation of ‘Thursday’.
furchtbar: Germ., dreadful.
In the Kalugano hospital (where Van recovers from a wound received in a pistol duel with Captain Tapper, of Wild Violet Lodge) Elsie Rack just had a complicated miscarriage:
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. (1.42)
Darkbloom ('Notes to Ada'): palata: Russ., ward.
During her visit to Kingston (Van's American University) Lucette (Van's and Ada's half-sister who brings Van a letter from Ada) tells Van that Elsie's lover played the triple viol:
‘I want to see you again soon,’ said Van, biting his thumb, brooding, cursing the pause, yearning for the contents of the blue envelope. ‘You must come and stay with me at a flat I now have on Alex Avenue. I have furnished the guest room with bergères and torchères and rocking chairs; it looks like your mother’s boudoir.’
Lucette curtseyed with the wicks of her sad mouth, à l’Américaine.
‘Will you come for a few days? I promise to behave properly. All right?’
‘My notion of propriety may not be the same as yours. And what about Cordula de Prey? She won’t mind?’
‘The apartment is mine,’ said Van, ‘and besides, Cordula is now Mrs Ivan G. Tobak. They are making follies in Florence. Here’s her last postcard. Portrait of Vladimir Christian of Denmark, who, she claims, is the dead spit of her Ivan Giovanovich. Have a look.’
‘Who cares for Sustermans,’ observed Lucette, with something of her uterine sister’s knight move of specious response, or a Latin footballer’s rovesciata.
No, it’s an elm. Half a millennium ago.
‘His ancestor,’ Van pattered on, ‘was the famous or fameux Russian admiral who had an épée duel with Jean Nicot and after whom the Tobago Islands, or the Tobakoff Islands, are named, I forget which, it was so long ago, half a millennium.’
‘I mentioned her only because an old sweetheart is easily annoyed by the wrong conclusions she jumps at like a cat not quite making a fence and then running off without trying again, and stopping to look back.’
‘Who told you about that lewd cordelude — I mean, interlude?’
‘Your father, mon cher — we saw a lot of him in the West. Ada supposed, at first, that Tapper was an invented name — that you fought your duel with another person — but that was before anybody heard of the other person’s death in Kalugano. Demon said you should have simply cudgeled him.’
‘I could not,’ said Van, ‘the rat was rotting away in a hospital bed.’
‘I meant the real Tapper,’ cried Lucette (who was making a complete mess of her visit), ‘not my poor, betrayed, poisoned, innocent teacher of music, whom not even Ada, unless she fibs, could cure of his impotence.’
‘Driblets,’ said Van.
‘Not necessarily his,’ said Lucette. ‘His wife’s lover played the triple viol. Look, I’ll borrow a book’ (scanning on the nearest bookshelf The Gitanilla, Clichy Clichés, Mertvago Forever, The Ugly New Englander) ‘and curl up, komondi, in the next room for a few minutes, while you — Oh, I adore The Slat Sign.’
‘There’s no hurry,’ said Van.
Pause (about fifteen minutes to go to the end of the act). (2.5)
Darkbloom ('Notes to Ada'): making follies: Fr. ‘faire des folies’, living it up.
komondi: Russian French: ‘comme on dit’, as they say.
In 1922, when Van and Ada reunite after their longest separation, Ada tells Van that Baynard had married his Cordula (after her sensational divorce) that they have three adorable daughters who still swim in the tan:
When I was a kid,’ said Van, ‘and stayed for the first — or rather, second — time in Switzerland, I thought that "Verglas" on roadway signs stood for some magical town, always around the corner, at the bottom of every snowy slope, never seen, but biding its time. I got your cable in the Engadine where there are real magical places, such as Alraun or Alruna — which means a tiny Arabian demon in a German wizard’s mirror. By the way, we have the old apartment upstairs with an additional bedroom, number five-zero-eight.’
‘Oh dear. I’m afraid you must cancel poor 508. If I stayed for the night, 510 would do for both of us, but I’ve got bad news for you. I can’t stay. I must go back to Geneva directly after dinner to retrieve my things and maids, whom the authorities have apparently put in a Home for Stray Females because they could not pay the absolutely medieval new droits de douane — isn’t Switzerland in Washington State, sort of, après tout? Look, don’t scowl’ — (patting his brown blotched hand on which their shared birthmark had got lost among the freckles of age, like a babe in autumn woods, on peut les suivre en reconnaissant only Mascodagama’s disfigured thumb and the beautiful almond-shaped nails) — ‘I promise to get in touch with you in a day or two, and then we’ll go on a cruise to Greece with the Baynards — they have a yacht and three adorable daughters who still swim in the tan, okay?’
‘I don’t know what I loathe more,’ he replied, ‘yachts or Baynards; but can I help you in Geneva?’
He could not. Baynard had married his Cordula, after a sensational divorce — Scotch veterinaries had had to saw off her husband’s antlers (last call for that joke). (Part Four)
Darkbloom ('Notes to Ada'): droits etc.: custom-house dues.
après tout: after all.
on peut etc.: etc.: see p.194.
Mascodagama is Van's stage name (as Mascodagama Van perfoms in variety shows dancing tango on his hands). On peut is an allusion to the four lines from François Coppée's sonnet Matin d'Octobre ("The October Morning") that Ada and Van translated into English several times:
After she too had finished breakfasting, he waylaid her, gorged with sweet butter, on the landing. They had one moment to plan things, it was all, historically speaking, at the dawn of the novel which was still in the hands of parsonage ladies and French academicians, so such moments were precious. She stood scratching one raised knee. They agreed to go for a walk before lunch and find a secluded place. She had to finish a translation for Mlle Larivière. She showed him her draft. François Coppée? Yes.
Their fall is gentle. The woodchopper
Can tell, before they reach the mud,
The oak tree by its leaf of copper,
The maple by its leaf of blood.
‘Leur chute est lente,’ said Van, ‘on peut les suivre du regard en reconnaissant — that paraphrastic touch of "chopper" and "mud" is, of course, pure Lowden (minor poet and translator, 1815-1895). Betraying the first half of the stanza to save the second is rather like that Russian nobleman who chucked his coachman to the wolves, and then fell out of his sleigh.’ (1.20)
Darkbloom ('Notes to Ada'): leur chute etc.: their fall is slow... one can follow them with one’s eyes, recognizing —
Lowden: a portmanteau name combining two contemporary bards.
The triple viol of Elsie Rack's lover and Captain Tapper's Wild Violet Lodge bring to mind Violet Knox, old Van's typist whom Ada calls Fialochka ('little Violet') and who marries Ronald Oranger (old Van's secretary, the editor of Ada) after Van's and Ada's death:
Violet Knox [now Mrs Ronald Oranger. Ed.], born in 1940, came to live with us in 1957. She was (and still is — ten years later) an enchanting English blonde with doll eyes, a velvet carnation and a tweed-cupped little rump [.....]; but such designs, alas, could no longer flesh my fancy. She has been responsible for typing out this memoir — the solace of what are, no doubt, my last ten years of existence. A good daughter, an even better sister, and half-sister, she had supported for ten years her mother’s children from two marriages, besides laying aside [something]. I paid her [generously] per month, well realizing the need to ensure unembarrassed silence on the part of a puzzled and dutiful maiden. Ada called her ‘Fialochka’ and allowed herself the luxury of admiring ‘little Violet’ ‘s cameo neck, pink nostrils, and fair pony-tail. Sometimes, at dinner, lingering over the liqueurs, my Ada would consider my typist (a great lover of Koo-Ahn-Trow) with a dreamy gaze, and then, quick-quick, peck at her flushed cheek. The situation might have been considerably more complicated had it arisen twenty years earlier. (5.6)
Because love is blind, Van fails to see that Ronald Oranger and Violet Knox are Ada's grandchildren. The second part of Zmey Gorynych's name comes either from goret' (to burn) or from gora (mountain) where the dragon is supposed to live (in a cave). Van and Ada make love for the first time in the Night of the Burning Barn (1.19). In their trilingual nursery rhymes Van and Ada mention gora:
Sestra moya, tï pomnish’ goru,
I dub vïsokiy, i Ladoru?
My sister, you remember still
The spreading oak tree and my hill?
Oh! qui me rendra mon Aline
Et le grand chêne et ma colline?
Oh, who will give me back my Jill
And the big oak tree and my hill?
Oh! qui me rendra, mon Adèle,
Et ma montagne et l’hirondelle? (1.22)
Darkbloom ('Notes to Ada'): sestra moya etc.: my sister, do you remember the mountain, and the tall oak, and the Ladore?
oh! qui me rendra etc.: oh who will give me back my Aline, and the big oak, and my hill?''
Also, Zmey Gorynych makes one think of a dragon into which Ada is quickly turning (as she tells Lucette):
All went well until Mlle Larivière decided to stay in bed for five days: she had sprained her back on a merry-go-round at the Vintage Fair, which, besides, she needed as the setting for a story she had begun (about a town mayor’s strangling a small girl called Rockette), and knew by experience that nothing kept up the itch of inspiration so well as la chaleur du lit. During that period, the second upstairs maid, French, whose moods and looks did not match the sweet temper and limpid grace of Blanche, was supposed to look after Lucette, and Lucette did her best to avoid the lazy servant’s surveillance in favor of her cousin’s and sister’s company. The ominous words: ‘Well, if Master Van lets you come,’ or ‘Yes, I’m sure Miss Ada won’t mind your mushroom-picking with her,’ became something of a knell in regard to love’s freedom.
While the comfortably resting lady was describing the bank of a brook where little Rockette liked to frolic, Ada sat reading on a similar bank, wistfully glancing from time to time at an inviting clump of evergreens (that had frequently sheltered our lovers) and at brown-torsoed, barefooted Van, in turned-up dungarees, who was searching for his wristwatch that he thought he had dropped among the forget-me-nots (but which Ada, he forgot, was wearing). Lucette had abandoned her skipping rope to squat on the brink of the brook and float a fetus-sized rubber doll. Every now and then she squeezed out of it a fascinating squirt of water through a little hole that Ada had had the bad taste to perforate for her in the slippery orange-red toy. With the sudden impatience of inanimate things, the doll managed to get swept away by the current. Van shed his pants under a willow and retrieved the fugitive. Ada, after considering the situation for a moment, shut her book and said to Lucette, whom usually it was not hard to enchant, that she, Ada, felt she was quickly turning into a dragon, that the scales had begun to turn green, that now she was a dragon and that Lucette must be tied to a tree with the skipping rope so that Van might save her just in time. For some reason, Lucette balked at the notion but physical strength prevailed. Van and Ada left the angry captive firmly attached to a willow trunk, and, ‘prancing’ to feign swift escape and pursuit, disappeared for a few precious minutes in the dark grove of conifers. Writhing Lucette had somehow torn off one of the red knobbed grips of the rope and seemed to have almost disentangled herself when dragon and knight, prancing, returned. (1.23)
Darkbloom ('Notes to Ada'): (avoir le) vin triste: to be melancholy in one’s cups.
au cou rouge etc.: with the ruddy and stout neck of a widower still full of sap.
gloutonnerie: gourmandise.
In Sergey Aksakov's novel Detskie gody Bagrova vnuka ("The Childhood Years of Bagrov's Grandson," 1858) the hero tells his little sister (who is frightened and complains to her nurse) the stories about the seven-headed Zmey Gorynych:
И так-неприметно устроился у нас особый мир в тесном углу нашем, в нашей гостиной комнате. Первые дни после отъезда отца и матери я провел в беспрестанной тоске и слезах, но мало-помалу успокоился, осмотрелся вокруг себя и устроился. Всякий день я принимался учить читать маленькую сестрицу, и совершенно без пользы, потому что во всё время пребывания нашего в Багрове она не выучила даже азбуки. Всякий день заставлял ее слушать «Детское чтение», читая сряду все статьи без исключения, хотя многих сам не понимал. Бедная слушательница моя часто зевала, напряженно устремив на меня свои прекрасные глазки, и засыпала иногда под мое чтение; тогда я принимался с ней играть, строя городки и церкви из чурочек или дома, в которых хозяевами были ее куклы; самая любимая ее игра была игра «в гости»: мы садились по разным углам, я брал к себе одну или две из ее кукол, с которыми приезжал в гости к сестрице, то есть переходил из одного угла в другой. У сестрицы всегда было несколько кукол, которые все назывались ее дочками или племянницами; тут было много разговоров и угощений, полное передразниванье больших людей. Я очень помню, что пускался в разные выдумки и рассказывал разные небывалые со мной приключения, некоторым основанием или образцом которых были прочитанные мною в книжках или слышанные происшествия. Так, например, я рассказывал, что у меня в доме был пожар, что я выпрыгнул с двумя детьми из окошка (то есть с двумя куклами, которых держал в руках); или что на меня напали разбойники и я всех их победил; наконец, что в багровском саду есть пещера, в которой живет Змей Горыныч о семи головах, и что я намерен их отрубить. Мне очень было приятно, что мои рассказы производили впечатление на мою сестрицу и что мне иногда удавалось даже напугать ее; одну ночь она худо спала, просыпалась, плакала и всё видела во сне то разбойников, то Змея Горыныча и прибавляла, что это братец ее напугал. ("The Stay in Bagrovo without Father and Mother")
Describing the first occasion on which he saw Ada, Van mentions his tutor Aksakov, Bagrov's grandson (a neighbor’s boy) and Grandpa Bagrov:
Before his boarding-school days started, his father’s pretty house, in Florentine style, between two vacant lots (5 Park Lane in Manhattan), had been Van’s winter home (two giant guards were soon to rise on both sides of it, ready to frog-march it away), unless they journeyed abroad. Summers in Radugalet, the ‘other Ardis,’ were so much colder and duller than those here in this, Ada’s, Ardis. Once he even spent both winter and summer there; it must have been in 1878.
Of course, of course, because that was the first time, Ada recalled, she had glimpsed him. In his little white sailor suit and blue sailor cap. (Un régulier angelochek, commented Van in the Raduga jargon.) He was eight, she was six. Uncle Dan had unexpectedly expressed the desire to revisit the old estate. At the last moment Marina had said she’d come too, despite Dan’s protests, and had lifted little Ada, hopla, with her hoop, into the calèche. They took, she imagined, the train from Ladoga to Raduga, for she remembered the way the station man with the whistle around his neck went along the platform, past the coaches of the stopped local, banging shut door after door, all six doors of every carriage, each of which consisted of six one-window carrosses of pumpkin origin, fused together. It was, Van suggested, a ‘tower in the mist’ (as she called any good recollection), and then a conductor walked on the running board of every coach with the train also running and opened doors all over again to give, punch, collect tickets, and lick his thumb, and change money, a hell of a job, but another ‘mauve tower.’ Did they hire a motor landaulet to Radugalet? Ten miles, she guessed. Ten versts, said Van. She stood corrected. He was out, he imagined, na progulke (promenading) in the gloomy firwood with Aksakov, his tutor, and Bagrov’s grandson, a neighbor’s boy, whom he teased and pinched and made horrible fun of, a nice quiet little fellow who quietly massacred moles and anything else with fur on, probably pathological. However, when they arrived, it became instantly clear that Demon had not expected ladies. He was on the terrace drinking goldwine (sweet whisky) with an orphan he had adopted, he said, a lovely Irish wild rose in whom Marina at once recognized an impudent scullery maid who had briefly worked at Ardis Hall, and had been ravished by an unknown gentleman — who was now well-known. In those days Uncle Dan wore a monocle in gay-dog copy of his cousin, and this he screwed in to view Rose, whom perhaps he had also been promised (here Van interrupted his interlocutor telling her to mind her vocabulary). The party was a disaster. The orphan languidly took off her pearl earrings for Marina’s appraisal. Grandpa Bagrov hobbled in from a nap in the boudoir and mistook Marina for a grande cocotte as the enraged lady conjectured later when she had a chance to get at poor Dan. Instead of staying for the night, Marina stalked off and called Ada who, having been told to ‘play in the garden,’ was mumbling and numbering in raw-flesh red the white trunks of a row of young birches with Rose’s purloined lipstick in the preamble to a game she now could not remember — what a pity, said Van — when her mother swept her back straight to Ardis in the same taxi leaving Dan — to his devices and vices, inserted Van — and arriving home at sunrise. But, added Ada, just before being whisked away and deprived of her crayon (tossed out by Marina k chertyam sobach’im, to hell’s hounds — and it did remind one of Rose’s terrier that had kept trying to hug Dan’s leg) the charming glimpse was granted her of tiny Van, with another sweet boy, and blond-bearded, white-bloused Aksakov, walking up to the house, and, oh yes, she had forgotten her hoop — no, it was still in the taxi. But, personally, Van had not the slightest recollection of that visit or indeed of that particular summer, because his father’s life, anyway, was a rose garden all the time, and he had been caressed by ungloved lovely hands more than once himself, which did not interest Ada. (1.24)
Darkbloom ('Notes to Ada'): Bagrov’s grandson: allusion to Childhood Years of Bagrov’s Grandson by the minor writer Sergey Aksakov (A.D. 1791-1859).
Describing Aqua's torments, Van uses the phrase k chertyam sobach’im (to the devils):
She developed a morbid sensitivity to the language of tap water — which echoes sometimes (much as the bloodstream does predormitarily) a fragment of human speech lingering in one’s ears while one washes one’s hands after cocktails with strangers. Upon first noticing this immediate, sustained, and in her case rather eager and mocking but really quite harmless replay of this or that recent discourse, she felt tickled at the thought that she, poor Aqua, had accidentally hit upon such a simple method of recording and transmitting speech, while technologists (the so-called Eggheads) all over the world were trying to make publicly utile and commercially rewarding the extremely elaborate and still very expensive, hydrodynamic telephones and other miserable gadgets that were to replace those that had gone k chertyam sobach’im (Russian ‘to the devil’) with the banning of an unmentionable ‘lammer.’ Soon, however, the rhythmically perfect, but verbally rather blurred volubility of faucets began to acquire too much pertinent sense. The purity of the running water’s enunciation grew in proportion to the nuisance it made of itself. It spoke soon after she had listened, or been exposed, to somebody talking — not necessarily to her — forcibly and expressively, a person with a rapid characteristic voice, and very individual or very foreign phrasal intonations, some compulsive narrator’s patter at a horrible party, or a liquid soliloquy in a tedious play, or Van’s lovely voice, or a bit of poetry heard at a lecture, my lad, my pretty, my love, take pity, but especially the more fluid and flou Italian verse, for instance that ditty recited between knee-knocking and palpebra-lifting, by a half-Russian, half-dotty old doctor, doc, toc, ditty, dotty, ballatetta, deboletta... tu, voce sbigottita... spigotty e diavoletta... de lo cor dolente... con ballatetta va... va... della strutta, destruttamente... mente... mente... stop that record, or the guide will go on demonstrating as he did this very morning in Florence a silly pillar commemorating, he said, the ‘elmo’ that broke into leaf when they carried stone-heavy-dead St Zeus by it through the gradual, gradual shade; or the Arlington harridan talking incessantly to her silent husband as the vineyards sped by, and even in the tunnel (they can’t do this to you, you tell them, Jack Black, you just tell them...). Bathwater (or shower) was too much of a Caliban to speak distinctly — or perhaps was too brutally anxious to emit the hot torrent and get rid of the infernal ardor — to bother about small talk; but the burbly flowlets grew more and more ambitious and odious, and when at her first ‘home’ she heard one of the most hateful of the visiting doctors (the Cavalcanti quoter) garrulously pour hateful instructions in Russian-lapped German into her hateful bidet, she decided to stop turning on tap water altogether. (1.3)
Darkbloom (‘Notes to Ada’): lammer: amber (Fr: l’ambre), allusion to electricity.
my lad, my pretty, etc: paraphrase of a verse in Housman.
ballatetta: fragmentation and distortion of a passage in a ‘little ballad’ by the Italian poet Guido Cavalcanti (1255–1300). The relevant lines are: ‘you frightened and weak little voice that comes weeping from my woeful heart, go with my soul and that ditty, telling of a destroyed mind.’
Describing Lucette's visit to Kingston, Van mentions baby serpents:
‘Here’s some brandy,’ he said. ‘Sit down. Where’s the rest of the family?’
She returned the balled handkerchief of many an old romance to her bag, which, however, remained unclosed. Chows, too, have blue tongues.
‘Mamma dwells in her private Samsara. Dad has had another stroke. Sis is revisiting Ardis.’
‘Sis! Cesse, Lucette! We don’t want any baby serpents around.’
‘This baby serpent does not quite know what tone to take with Dr V.V. Sector. You have not changed one bit, my pale darling, except that you look like a ghost in need of a shave without your summer Glanz.’ (2.5)
Darkbloom (‘Notes to Ada’): cesse: cease.
Glanz: Germ., luster.
Mädel: Germ., girl.
In the first of his two imaginary dialogues with Koncheyev (the rival poet) Fyodor Godunov-Cherdyntsev, the narrator and main character in VN's novel Dar ("The Gift," 1937), mentions drakonyata (baby dragons):
"... Но постойте, постойте, я вас провожу. Вы, поди, полунощник, и не мне, стать, учить вас черному очарованию каменных прогулок. Так вы не слушали бедного чтеца?"
"В начале только - и то в полуха. Однако я вовсе не думаю, что это было так уж скверно".
"Вы рассматривали персидские миниатюры. Не заметили ли вы там одной - разительное сходство! - из коллекции петербургской публичной библиотеки - ее писал, кажется, Riza Abbasi, лет триста тому назад: на коленях, в борьбе с драконятами, носатый, усатый... Сталин".
They said good-by. “Brr, what a wind!”
“Wait, wait a minute though—I’ll see you home. Surely you’re a night owl like me and I don’t have to expound to you on the black enchantment of stone promenades. So you didn’t listen to our poor lecturer?”
“Only at the beginning, and then only with half an ear. However, I don’t think it was quite as bad as that.”
“You were examining Persian miniatures in a book. Did you not notice one—an amazing resemblance!—from the collection of the St. Petersburg Public Library—done, I think, by Riza Abbasi, say about three hundred years ago: that man kneeling, struggling with baby dragons, big-nosed, mustachioed—Stalin!”
Colonel St. Alin, a scoundrel, is one of the two seconds in Demon's sword duel with Baron d'Onsky (Skonky):
Upon being questioned in Demon’s dungeon, Marina, laughing trillingly, wove a picturesque tissue of lies; then broke down, and confessed. She swore that all was over; that the Baron, a physical wreck and a spiritual Samurai, had gone to Japan forever. From a more reliable source Demon learned that the Samurai’s real destination was smart little Vatican, a Roman spa, whence he was to return to Aardvark, Massa, in a week or so. Since prudent Veen preferred killing his man in Europe (decrepit but indestructible Gamaliel was said to be doing his best to forbid duels in the Western Hemisphere — a canard or an idealistic President’s instant-coffee caprice, for nothing was to come of it after all), Demon rented the fastest petroloplane available, overtook the Baron (looking very fit) in Nice, saw him enter Gunter’s Bookshop, went in after him, and in the presence of the imperturbable and rather bored English shopkeeper, back-slapped the astonished Baron across the face with a lavender glove. The challenge was accepted; two native seconds were chosen; the Baron plumped for swords; and after a certain amount of good blood (Polish and Irish — a kind of American ‘Gory Mary’ in barroom parlance) had bespattered two hairy torsoes, the whitewashed terrace, the flight of steps leading backward to the walled garden in an amusing Douglas d’Artagnan arrangement, the apron of a quite accidental milkmaid, and the shirtsleeves of both seconds, charming Monsieur de Pastrouil and Colonel St Alin, a scoundrel, the latter gentlemen separated the panting combatants, and Skonky died, not ‘of his wounds’ (as it was viciously rumored) but of a gangrenous afterthought on the part of the least of them, possibly self-inflicted, a sting in the groin, which caused circulatory trouble, notwithstanding quite a few surgical interventions during two or three years of protracted stays at the Aardvark Hospital in Boston — a city where, incidentally, he married in 1869 our friend the Bohemian lady, now keeper of Glass Biota at the local museum.
Marina arrived in Nice a few days after the duel, and tracked Demon down in his villa Armina, and in the ecstasy of reconciliation neither remembered to dupe procreation, whereupon started the extremely interesnoe polozhenie (‘interesting condition’) without which, in fact, these anguished notes could not have been strung.
(Van, I trust your taste and your talent but are we quite sure we should keep reverting so zestfully to that wicked world which after all may have existed only oneirologically, Van? Marginal jotting in Ada’s 1965 hand; crossed out lightly in her latest wavering one.) (1.2)
Darkbloom (‘Notes to Ada’): Aardvark: apparently, a university town in New England.
Gamaliel: a much more fortunate statesman than our W.G. Harding.
interesting condition: family way.
In October 1905 (half a year after Demon's death), when they meet in Mont Roux, Ada tells Van that at Marina’s funeral she met d’Onsky’s son, a person with only one arm:
‘My upper-lip space feels indecently naked.’ (He had shaved his mustache off with howls of pain in her presence). ‘And I cannot keep sucking in my belly all the time.’
‘Oh, I like you better with that nice overweight — there’s more of you. It’s the maternal gene, I suppose, because Demon grew leaner and leaner. He looked positively Quixotic when I saw him at Mother’s funeral. It was all very strange. He wore blue mourning. D’Onsky’s son, a person with only one arm, threw his remaining one around Demon and both wept comme des fontaines. Then a robed person who looked like an extra in a technicolor incarnation of Vishnu made an incomprehensible sermon. Then she went up in smoke. He said to me, sobbing: "I will not cheat the poor grubs!" Practically a couple of hours after he broke that promise we had sudden visitors at the ranch — an incredibly graceful moppet of eight, black-veiled, and a kind of duenna, also in black, with two bodyguards. The hag demanded certain fantastic sums — which Demon, she said, had not had time to pay, for "popping the hymen" — whereupon I had one of our strongest boys throw out vsyu (the entire) kompaniyu.’
‘Extraordinary,’ said Van, ‘they had been growing younger and younger — I mean the girls, not the strong silent boys. His old Rosalind had a ten-year-old niece, a primed chickabiddy. Soon he would have been poaching them from the hatching chamber.’
‘You never loved your father,’ said Ada sadly.
‘Oh, I did and do — tenderly, reverently, understandingly, because, after all, that minor poetry of the flesh is something not unfamiliar to me. But as far as we are concerned, I mean you and I, he was buried on the same day as our uncle Dan.’
‘I know, I know. It’s pitiful! And what use was it? Perhaps I oughtn’t to tell you, but his visits to Agavia kept getting rarer and shorter every year. Yes, it was pitiful to hear him and Andrey talking. I mean, Andrey n’a pas le verbe facile, though he greatly appreciated — without quite understanding it — Demon’s wild flow of fancy and fantastic fact, and would often exclaim, with his Russian "tssk-tssk" and a shake of the head — complimentary and all that — "what a balagur (wag) you are!" — And then, one day, Demon warned me that he would not come any more if he heard again poor Andrey’s poor joke (Nu i balagur-zhe vï, Dementiy Labirintovich) or what Dorothy, l’impayable ("priceless for impudence and absurdity") Dorothy, thought of my camping out in the mountains with only Mayo, a cowhand, to protect me from lions.’
‘Could one hear more about that?’ asked Van.
‘Well, nobody did. All this happened at a time when I was not on speaking terms with my husband and sister-in-law, and so could not control the situation. Anyhow, Demon did not come even when he was only two hundred miles away and simply mailed instead, from some gaming house, your lovely, lovely letter about Lucette and my picture.’
‘One would also like to know some details of the actual coverture — frequence of intercourse, pet names for secret warts, favorite smells —’
‘Platok momental’no (handkerchief quick)! Your right nostril is full of damp jade,’ said Ada, and then pointed to a lawnside circular sign, rimmed with red, saying: Chiens interdits and depicting an impossible black mongrel with a white ribbon around its neck: Why, she wondered, should the Swiss magistrates forbid one to cross highland terriers with poodles? (3.8)
Darkbloom (‘Notes to Ada’): comme etc.: shedding floods of tears.
N’a pas le verbe etc.: lacks the gift of the gab.
chiens etc.: dogs not allowed.