Describing the years of his enforced separation from Ada, Van Veen (the narrator and main character in VN's novel Ada, 1969) mentions his works that he composed in various places:
He traveled, he studied, he taught.
He contemplated the pyramids of Ladorah (visited mainly because of its name) under a full moon that silvered the sands inlaid with pointed black shadows. He went shooting with the British Governor of Armenia, and his niece, on Lake Van. From a hotel balcony in Sidra his attention was drawn by the manager to the wake of an orange sunset that turned the ripples of a lavender sea into goldfish scales and was well worth the price of enduring the quaintness of the small striped rooms he shared with his secretary, young Lady Scramble. On another terrace, overlooking another fabled bay, Eberthella Brown, the local Shah’s pet dancer (a naive little thing who thought ‘baptism of desire’ meant something sexual), spilled her morning coffee upon noticing a six-inch-long caterpillar, with fox-furred segments, qui rampait, was tramping, along the balustrade and curled up in a swoon when picked up by Van — who for hours, after removing the beautiful animal to a bush, kept gloomily plucking itchy bright hairs out of his fingertips with the girl’s tweezers.
He learned to appreciate the singular little thrill of following dark byways in strange towns, knowing well that he would discover nothing, save filth, and ennui, and discarded ‘merrycans’ with ‘Billy’ labels, and the jungle jingles of exported jazz coming from syphilitic cafés. He often felt that the famed cities, the museums, the ancient torture house and the suspended garden, were but places on the map of his own madness.
He liked composing his works (Illegible Signatures, 1895; Clairvoyeurism, 1903; Furnished Space, 1913; The Texture of Time, begun 1922), in mountain refuges, and in the drawing rooms of great expresses, and on the sun decks of white ships, and on the stone tables of Latin public parks. He would uncurl out of an indefinitely lengthy trance, and note with wonder that the ship was going the other way or that the order of his left-hand fingers was reversed, now beginning, clockwise, with his thumb as on his right hand, or that the marble Mercury that had been looking over his shoulder had been transformed into an attentive arborvitae. He would realize all at once that three, seven, thirteen years, in one cycle of separation, and then four, eight, sixteen, in yet another, had elapsed since he had last embraced, held, bewept Ada.
Numbers and rows and series — the nightmare and malediction harrowing pure thought and pure time — seemed bent on mechanizing his mind. Three elements, fire, water, and air, destroyed, in that sequence, Marina, Lucette, and Demon. Terra waited. (3.1)
Van's Illegible Signatures bring to mind podpis' nerazborchiva: noch', oblaka (signature illegible. Night. Cloudy sky), a parenthesis in VN's Parizhskaya poema ("The Paris Poem," 1943):
"Отведите, но только не бросьте.
Это -- люди; им жалко Москвы.
Позаботьтесь об этом прохвосте:
он когда-то был ангел, как вы.
И подайте крыло Никанору,
Аврааму, Владимиру, Льву, --
смерду, князю, предателю, вору:
ils furent des anges comme vous.
Всю ораву, ужасные выи
стариков у чужого огня,
господа, господа голубые,
пожалейте вы ради меня!
От кочующих, праздно плутающих
уползаю, и вот привстаю,
и уже я лечу, и на тающих
рифмы нет в моем новом раю.
Потому-то я вправе по чину
к вам, бряцая, в палаты войти.
Хорошо. Понимаю причину --
но их надо, их надо спасти.
Хоть бы вы призадумались, хоть бы
согласились взглянуть. А пока
остаюсь с привидением (подпись
неразборчива: ночь, облака)".
“Lead them off, only do not discard them!
They are human. Their Moscow they rue.
Give some thought to the needs of that scoundrel:
He was once an angel like you.
And extend a wing to Nicander,
Abram, Vladimir, and Leo, too;
to the slave, prince, traitor, bandit:
ils furent des anges comme vous.
The whole crew—at an alien fireside
(those ghastly necks of old men):
masters, my azure masters,
for my sake have pity on them!
From those wandering, those idly straying,
I now crawl away, and now rise,
and I’m flying at last—and ‘dissolving’
has no rhyme in my new paradise.
That is how by rank I’m entitled
with loud clangor to enter your hall.
Very well. I’m aware of the reason—
but they must be rescued all!
You at least might reflect, you at least might
condescend to glance briefly - Meanwhile
I remain your specterful (signature
illegible. Night. Cloudy sky)."
VN's Notes: Line 13: Ot kochúyushchih, prázdno plutáyushchih. The original imitates much more closely Nekrasov’s line calling the poet away “from those jubilant, those idly babbling” (ot likuyúshchih, prázdno boltáyushchih) to the camp (stan) of those revolutionaries “who perish in the name of the great deed of love.” Nikolai Alekseevich Nekrasov (1821–78), a famous poet who successfully transcended, in a few great poems, the journalist in him, who wrote topical jingles.
Line 23: ostayus’ s privideniem. Lexically: “I remain with specter,” a play on the closing cliché of ostayus s uvazheniem, “I remain with respect.” Every now and then fidelity receives a miraculous reward.
Van's Clairvoyeurism seems to blend yasnovidtsy (clairvoyants) mentioned by VN at the beginning of his poem O pravitelyakh ("On Rulers," 1944):
Вы будете (как иногда
говорится)
смеяться, вы будете (как ясновидцы
говорят) хохотать, господа -
но, честное слово,
у меня есть приятель,
которого
привела бы в волнение мысль поздороваться
с главою правительства или другого какого
предприятия.
You will (as sometimes
people say)
laugh; you will (as clairvoyants
say) roar with laughter, gentlemen—
but, word of honor,
I have a crony,
who
would be thrilled to shake hands
with the head of a state or of any other
enterprise.
with "the most jaded voyeur" mentioned by Humbert Humbert in VN's novel Lolita (1955):
In a street called Thayer Street, in the residential green, fawn, and golden of a mellow academic townlet, one was bound to have a few amiable fine-dayers yelping at you. I prided myself on the exact temperature of my relations with them: never rude, always aloof. My west-door neighbor, who might have been a businessman or a college teacher, or both, would speak to me once in a while as he barbered some late garden blooms or watered his car, or, at a later date, defrosted his driveway (I don’t mind if these verbs are all wrong), but my brief grunts, just sufficiently articulate to sound like conventional assents or interrogative pause-fillers, precluded any evolution toward chumminess. Of the two houses flanking the bit of scrubby waste opposite, one was closed, and the other contained two professors of English, tweedy and short-haired Miss Lester and fadedly feminine Miss Fabian, whose only subject of brief sidewalk conversation with me was (God bless their tact!) the young loveliness of my daughter and the nave charm of Gaston Godin. My east-door neighbor was by far the most dangerous one, a sharp-nosed stock character whose late brother had been attached to the College as Superintendent of Buildings and Grounds. I remember her waylaying Dolly, while I stood at the living room window, feverishly awaiting my darling’s return from school. The odious spinster, trying to conceal her morbid inquisitiveness under a mask of dulcet goodwill, stood leaning on her slim umbrella (the sleet had just stopped, a cold wet sun had sidled out), and Dolly, her brown coat open despite the raw weather, her structural heap of books pressed against her stomach, her knees showing pink above her clumsy wellingtons, a sheepish frightened slittle smile flitting over and off her snub-nosed face, whichowing perhaps to the pale wintry lightlooked almost plain, in a rustic, German, mägdlein-like way, as she stood there and dealt with Miss East’s questions “And where is your mother, my dear? And what is your poor father’s occupation? And where did you love before?” Another time the loathsome creature accosted me with a welcoming whinebut I evaded her; and a few days later there came from her a note in a blue-margined envelope, a nice mixture of poison and treacle, suggesting Dolly come over on a Sunday and curl up in a chair to look through the “loads of beautiful books my dear mother gave me when I was a child, instead of having the radio on at full blast till all hours of the night.”
I had also to be careful in regard to a Mrs. Holigan, a charwoman and cook of sorts whom I had inherited with the vacuum cleaner from the previous tenants. Dolly got lunch at school, so that this was no trouble, and I had become adept at providing her with a big breakfast and warming up the dinner that Mrs. Holigan prepared before leaving. That kindly and harmless woman had, thank God, a rather bleary eye that missed details, and I had become a great expert in bedmaking; but still I was continuously obsessed by the feeling that some fatal stain had been left somewhere, or that, on the rare occasions where Holigan’s presence happened to coincide with Lo’s, simple Lo might succumb to buxom sympathy in the course of a cozy kitchen chat. I often felt we lived in a lighted house of glass, and any moment some thin-lipped parchment face would peer through a carelessly unshaded window to obtain a free glimpse of things that the most jaded voyeur would have paid a small fortune to watch. (2.5)
On Demonia (aka Antiterra, Earth's twin planet on which Ada is set) Paris is also known as Lute (from Lutèce, the ancient name of Paris) and VN's Lolita is known as The Gitanilla, a novel by the Spanish writer Osberg (anagram of Borges). In the Tobakoff cinema hall Van and Lucette (Van's and Ada's half-sister who commits suicide by jumping into the Atlantic from Admiral Tobakoff) watch Don Juan's Last Fling, a film in which Ada played the part of the gitanilla (little gypsy girl). Describing Demon's death in a mysterious airplane disaster above the Pacific, Van mentions Furnished Space:
Furnished Space, l’espace meublé (known to us only as furnished and full even if its contents be ‘absence of substance’ — which seats the mind, too), is mostly watery so far as this globe is concerned. In that form it destroyed Lucette. Another variety, more or less atmospheric, but no less gravitational and loathsome, destroyed Demon.
Idly, one March morning, 1905, on the terrace of Villa Armina, where he sat on a rug, surrounded by four or five lazy nudes, like a sultan, Van opened an American daily paper published in Nice. In the fourth or fifth worst airplane disaster of the young century, a gigantic flying machine had inexplicably disintegrated at fifteen thousand feet above the Pacific between Lisiansky and Laysanov Islands in the Gavaille region. A list of ‘leading figures’ dead in the explosion comprised the advertising manager of a department store, the acting foreman in the sheet-metal division of a facsimile corporation, a recording firm executive, the senior partner of a law firm, an architect with heavy aviation background (a first misprint here, impossible to straighten out), the vice president of an insurance corporation, another vice president, this time of a board of adjustment whatever that might be —
‘I’m hongree,’ said a maussade Lebanese beauty of fifteen sultry summers.
‘Use bell,’ said Van, continuing in a state of odd fascination to go through the compilation of labeled lives:
— the president of a wholesale liquor-distributing firm, the manager of a turbine equipment company, a pencil manufacturer, two professors of philosophy, two newspaper reporters (with nothing more to report), the assistant controller of a wholesome liquor distribution bank (misprinted and misplaced), the assistant controller of a trust company, a president, the secretary of a printing agency —
The names of those big shots, as well as those of some eighty other men, women, and silent children who perished in blue air, were being withheld until all relatives had been reached; but the tabulatory preview of commonplace abstractions had been thought to be too imposing not to be given at once as an appetizer; and only on the following morning did Van learn that a bank president lost in the closing garble was his father. (3.7)
In his poem Vecher dymchat i dolog ("The Evening is Hazy and Long," 1953) VN compares the butterfly to an angel and, when it is netted, to a demon:
Вечер дымчат и долог:
я с мольбою стою,
молодой энтомолог,
перед жимолостью.
О, как хочется, чтобы
там, в цветах, вдруг возник,
запуская в них хобот,
райский сумеречник.
Содроганье - и вот он.
Я по ангелу бью,
и уж демон замотан
в сетку дымчатую.
Rayskiy sumerechnik (a heavenly crepuscular nymphalid butterfly) in the poem's Line 8 brings to mind Rayski, the main character in Goncharov's novel Obryv ("The Precipice," 1869), and the late Sumerechnikov (American precursor of the Lumière brothers mentioned by Van when he describes his first day at Ardis):
They went back to the corridor, she tossing her hair, he clearing his throat. Further down, a door of some playroom or nursery stood ajar and stirred to and fro as little Lucette peeped out, one russet knee showing. Then the doorleaf flew open — but she darted inside and away. Cobalt sailing boats adorned the white tiles of a stove, and as her sister and he passed by that open door a toy barrel organ invitingly went into action with a stumbling little minuet. Ada and Van returned to the ground floor — this time all the way down the sumptuous staircase. Of the many ancestors along the wall, she pointed out her favorite, old Prince Vseslav Zemski (1699-1797), friend of Linnaeus and author of Flora Ladorica, who was portrayed in rich oil holding his barely pubescent bride and her blond doll in his satin lap. An enlarged photograph, soberly framed, hung (rather incongruously, Van thought) next to the rose-bud-lover in his embroidered coat. The late Sumerechnikov, American precursor of the Lumière brothers, had taken Ada’s maternal uncle in profile with upcheeked violin, a doomed youth, after his farewell concert. (1.6)
Darkbloom ('Notes to Ada'): Sumerechnikov: the name is derived from ‘sumerki’ (‘dusk’ in Russian).
Van and Ada see a photograph of Sumerechnikov in Kim Beauharnais's album:
A photograph of an oval painting, considerably diminished, portrayed Princess Sophia Zemski as she was at twenty, in 1775, with her two children (Marina’s grandfather born in 1772, and Demon’s grandmother, born in 1773).
‘I don’t seem to remember it,’ said Van, ‘where did it hang?’
‘In Marina’s boudoir. And do you know who this bum in the frock coat is?’
‘Looks to me like a poor print cut out of a magazine. Who’s he?’
‘Sumerechnikov! He took sumerographs of Uncle Vanya years ago.’
‘The Twilight before the Lumières. Hey, and here’s Alonso, the swimming-pool expert. I met his sweet sad daughter at a Cyprian party — she felt and smelt and melted like you. The strong charm of coincidence.’
‘I’m not interested. Now comes a little boy.’
‘Zdraste, Ivan Dementievich,’ said Van, greeting his fourteen-year-old self, shirtless, in shorts, aiming a conical missile at the marble fore-image of a Crimean girl doomed to offer an everlasting draught of marble water to a dying marine from her bullet-chipped jar. (2.7)
Darkbloom ('Notes to Ada'): Sumerechnikov: His name comes from Russ., sumerki, twilight; see also p.37.
zdraste: abbrev. form of zdravstvuyte, the ordinary Russian greeting.
Kim Beauharnais is a kitchen boy and photographer at Ardis whom Van blinds for spying on him and Ada and attempting to blackmail Ada (2.11). In a letter to Van (written a month before Demon's death) Ada (now married to Andrey Vinelander) mentions "pretty Miss 'Kim' Blackrent:"
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.
Van does not realize 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. Because love is blind, Van fails to see that Andrey Vinelander and Ada have at least two children and that Ronald Oranger (old Van’s secretary, the editor of Ada) and Violet Knox (old Van’s typist whom Ada calls Fialochka, “little Violet,” and who marries Ronald Oranger after Van's and Ada's death) are Ada’s grandchildren.
Btw., in his Ode to a Model (1955) VN mentions a virgin practicing archery near a vase and a parapet:
I have followed you, model,
in magazine ads through all seasons,
from dead leaf on the sod
to red leaf on the breeze,
from your lily-white armpit
to the tip of your butterfly eyelash,
charming and pitiful,
silly and stylish.
Or in kneesocks and tartan
standing there like some fabulous symbol,
parted feet pointing outward
— pedal form of akimbo.
On a lawn, in a parody
Of Spring and its cherry tree,
near a vase and a parapet,
virgin practicing archery.
Ballerina, black-masked,
near a parapet of alabaster.
"Can one — somebody asked —
rhyme "star" and "disaster"? "
Can one picture a blackbird
as the negative of a small firebird?
Can a record, run backward,
turn "repaid" into "diaper"?
Can one marry a model?
Kill your past, make you real, raise a family,
by removing you bodily
from back numbers of Sham?
Back numbers of Sham bring to mind numbers and rows and series — the nightmare and malediction harrowing pure thought and pure time — that seemed bent on mechanizing Van's mind. In his essay The Texture of Time Van dismisses the Future as 'Sham Time:'
I happen to remember in terms of color (grayish blue, purple, reddish gray) my three farewell lectures — public lectures — on Mr Bergson’s Time at a great university a few months ago. I recall less clearly, and indeed am able to suppress in my mind completely, the six-day intervals between blue and purple and between purple and gray. But I visualize with perfect clarity the circumstances attending the actual lectures. I was a little late for the first (dealing with the Past) and observed with a not-unpleasant thrill, as if arriving at my own funeral, the brilliantly lighted windows of Counterstone Hall and the small figure of a Japanese student who, being also late, overtook me at a wild scurry, and disappeared in the doorway long before I reached its semicircular steps. At the second lecture — the one on the Present — during the five seconds of silence and ‘inward attention’ which I requested from the audience in order to provide an illustration for the point I, or rather the speaking jewel in my waistcoat pocket, was about to make regarding the true perception of time, the behemoth snores of a white-bearded sleeper filled the house — which, of course, collapsed. At the third and last lecture, on the Future ('Sham Time'), after working perfectly for a few minutes, my secretly recorded voice underwent an obscure mechanical disaster, and I preferred simulating a heart attack and being carried out into the night forever (insofar as lecturing was concerned) to trying to decipher and sort out the batch of crumpled notes in pale pencil which poor speakers are obsessed with in familiar dreams (attributed by Dr Froid of Signy-Mondieu-Mondieu to the dreamer's having read in infancy his adulterous parents' love letters). (Part Four)