At the end of the dinner in 'Ursus' (the best Franco-Estotian restaurant in Manhattan Major) Ada declares "we are satiated with moonlight and strawberry soufflé:"
‘I declare we are satiated with moonlight and strawberry soufflé — the latter, I fear, has not quite "risen" to the occasion,’ remarked Ada in her archest, Austen-maidenish manner. ‘Let’s all go to bed. You have seen our huge bed, pet? Look, our cavalier is yawning "fit to declansh his masher"’ (vulgar Ladore cant).
‘How (ascension of Mt Yawn) true,’ uttered Van, ceasing to palpate the velvet cheek of his Cupidon peach, which he had bruised but not sampled. (2.8)
Sed non satiata is a sonnet by Baudelaire. In the penultimate stanza of Baudelaire's poem Au Lecteur ("To the Reader") Ennui dans un bâillement avalerait le monde (in a yawn would swallow the world):
La sottise, l'erreur, le péché, la lésine,
Occupent nos esprits et travaillent nos corps,
Et nous alimentons nos aimables remords,
Comme les mendiants nourrissent leur vermine.
Nos péchés sont têtus, nos repentirs sont lâches;
Nous nous faisons payer grassement nos aveux,
Et nous rentrons gaiement dans le chemin bourbeux,
Croyant par de vils pleurs laver toutes nos taches.
Sur l'oreiller du mal c'est Satan Trismégiste
Qui berce longuement notre esprit enchanté,
Et le riche métal de notre volonté
Est tout vaporisé par ce savant chimiste.
C'est le Diable qui tient les fils qui nous remuent!
Aux objets répugnants nous trouvons des appas;
Chaque jour vers l'Enfer nous descendons d'un pas,
Sans horreur, à travers des ténèbres qui puent.
Ainsi qu'un débauché pauvre qui baise et mange
Le sein martyrisé d'une antique catin,
Nous volons au passage un plaisir clandestin
Que nous pressons bien fort comme une vieille orange.
Serré, fourmillant, comme un million d'helminthes,
Dans nos cerveaux ribote un peuple de Démons,
Et, quand nous respirons, la Mort dans nos poumons
Descend, fleuve invisible, avec de sourdes plaintes.
Si le viol, le poison, le poignard, l'incendie,
N'ont pas encor brodé de leurs plaisants dessins
Le canevas banal de nos piteux destins,
C'est que notre âme, hélas! n'est pas assez hardie.
Mais parmi les chacals, les panthères, les lices,
Les singes, les scorpions, les vautours, les serpents,
Les monstres glapissants, hurlants, grognants, rampants,
Dans la ménagerie infâme de nos vices,
II en est un plus laid, plus méchant, plus immonde!
Quoiqu'il ne pousse ni grands gestes ni grands cris,
Il ferait volontiers de la terre un débris
Et dans un bâillement avalerait le monde;
C'est l'Ennui! L'oeil chargé d'un pleur involontaire,
II rêve d'échafauds en fumant son houka.
Tu le connais, lecteur, ce monstre délicat,
— Hypocrite lecteur, — mon semblable, — mon frère!
Folly, error, sin, avarice
Occupy our minds and labor our bodies,
And we feed our pleasant remorse
As beggars nourish their vermin.
Our sins are obstinate, our repentance is faint;
We exact a high price for our confessions,
And we gaily return to the miry path,
Believing that base tears wash away all our stains.
On the pillow of evil Satan, Trismegist,
Incessantly lulls our enchanted minds,
And the noble metal of our will
Is wholly vaporized by this wise alchemist.
The Devil holds the strings which move us!
In repugnant things we discover charms;
Every day we descend a step further toward Hell,
Without horror, through gloom that stinks.
Like a penniless rake who with kisses and bites
Tortures the breast of an old prostitute,
We steal as we pass by a clandestine pleasure
That we squeeze very hard like a dried up orange.
Serried, swarming, like a million maggots,
A legion of Demons carouses in our brains,
And when we breathe, Death, that unseen river,
Descends into our lungs with muffled wails.
If rape, poison, daggers, arson
Have not yet embroidered with their pleasing designs
The banal canvas of our pitiable lives,
It is because our souls have not enough boldness.
But among the jackals, the panthers, the bitch hounds,
The apes, the scorpions, the vultures, the serpents,
The yelping, howling, growling, crawling monsters,
In the filthy menagerie of our vices,
There is one more ugly, more wicked, more filthy!
Although he makes neither great gestures nor great cries,
He would willingly make of the earth a shambles
And, in a yawn, swallow the world;
He is Ennui! — His eye watery as though with tears,
He dreams of scaffolds as he smokes his hookah pipe.
You know him reader, that refined monster,
— Hypocritish reader, — my fellow, — my brother!
(tr. W. Aggeler)
Plus immonde (more filthy) brings to mind "l'immonde Monsieur Rack," as Blanche (a French handmaid at Ardis) calls Lucette's music teacher:
Pedro had not yet returned from California. Hay fever and dark glasses did not improve G.A. Vronsky’s appearance. Adorno, the star of Hate, brought his new wife, who turned out to have been one of the old (and most beloved wives) of another guest, a considerably more important comedian, who after supper bribed Bouteillan to simulate the arrival of a message necessitating his immediate departure. Grigoriy Akimovich went with him (having come with him in the same rented limousine), leaving Marina, Ada, Adorno and his ironically sniffing Marianne at a card table. They played biryuch, a variety of whist, till a Ladore taxi could be obtained, which was well after 1:00 a.m.
In the meantime Van changed back to shorts, cloaked himself in the tartan plaid and retired to his bosquet, where the bergamask lamps had not been lit at all that night which had not proved as festive as Marina had expected. He climbed into his hammock and drowsily started reviewing such French-speaking domestics as could have slipped him that ominous but according to Ada meaningless note. The first, obvious choice was hysterical and fantastic Blanche — had there not been her timidity, her fear of being ‘fired’ (he recalled a dreadful scene when she groveled, pleading for mercy, at the feet of Larivière, who accused her of ‘stealing’ a bauble that eventually turned up in one of Larivière’s own shoes). The ruddy face of Bouteillan and his son’s grin next appeared in the focus of Van’s fancy; but presently he fell asleep, and saw himself on a mountain smothered in snow, with people, trees, and a cow carried down by an avalanche.
Something roused him from that state of evil torpor. At first he thought it was the chill of the dying night, then recognized the slight creak (that had been a scream in his confused nightmare), and raising his head saw a dim light in between the shrubs where the door of the tool room was being pushed ajar from the inside. Ada had never once come there without their prudently planning every step of their infrequent nocturnal trysts. He scrambled out of his hammock and padded toward the light doorway. Before him stood the pale wavering figure of Blanche. She presented an odd sight: bare armed, in her petticoat, one stocking gartered, the other down to her ankle; no slippers; armpits glistening with sweat; she was loosening her hair in a wretched simulacrum of seduction.
‘C’est ma dernière nuit au château,’ she said softly, and rephrased it in her quaint English, elegiac and stilted, as spoken only in obsolete novels. ‘‘Tis my last night with thee.’
‘Your last night? With me? What do you mean?’ He considered her with the eerie uneasiness one feels when listening to the utterances of delirium or intoxication.
But despite her demented look, Blanche was perfectly lucid. She had made up her mind a couple of days ago to leave Ardis Hall. She had just slipped her demission, with a footnote on the young lady’s conduct, under the door of Madame. She would go in a few hours. She loved him, he was her ‘folly and fever,’ she wished to spend a few secret moments with him.
He entered the toolroom and slowly closed the door. The slowness had its uncomfortable cause. She had placed her lantern on the rung of a ladder and was already gathering up and lifting her skimpy skirt. Compassion, courtesy and some assistance on her part might have helped him to work up the urge which she took for granted and whose total absence he carefully concealed under his tartan cloak; but quite aside from the fear of infection (Bout had hinted at some of the poor girl’s troubles), a graver matter engrossed him. He diverted her bold hand and sat down on the bench beside her.
Was it she who had placed that note in his jacket?
It was. She had been unable to face departure if he was to remain fooled, deceived, betrayed. She added, in naive brackets, that she had been sure he always desired her, they could talk afterwards. Je suis à toi, c’est bientôt l’aube, your dream has come true.
‘Parlez pour vous,’ answered Van. ‘I am in no mood for love-making. And I will strangle you, I assure you, if you do not tell me the whole story in every detail, at once.’
She nodded, fear and adoration in her veiled eyes. When and how had it started? Last August, she said. Votre demoiselle picking flowers, he squiring her through the tall grass, a flute in his hand. Who he? What flute? Mais le musicien allemand, Monsieur Rack. The eager informer had her own swain lying upon her on the other side of the hedge. How anybody could do it with l’immonde Monsieur Rack, who once forgot his waistcoat in a haystack, was beyond the informer’s comprehension. Perhaps because he made songs for her, a very pretty one was once played at a big public ball at the Ladore Casino, it went... Never mind how it went, go on with the story. Monsieur Rack, one starry night, in a boat on the river, was heard by the informer and two gallants in the willow bushes, recounting the melancholy tale of his childhood, of his years of hunger and music and loneliness, and his sweetheart wept and threw her head back and he fed on her bare throat, il la mangeait de baisers dégoûtants. He must have had her not more than a dozen times, he was not as strong as another gentleman — oh, cut it out, said Van — and in winter the young lady learnt he was married, and hated his cruel wife, and in April when he began to give piano lessons to Lucette the affair was resumed, but then —
‘That will do!’ he cried and, beating his brow with his fist, stumbled out into the sunlight. (1.41)
Darkbloom (‘Notes to Ada’): c’est ma dernière: this is my last night in the manor.
je suis etc.: I’m yours, it’s soon dawn.
parlez pour vous: speak for yourself.
immonde: unspeakable.
il la mangeait etc.: he devoured her with disgusting kisses.
Poisoned by his jealous wife Elsie, Philip Rack dies in Ward Five (where hopeless cases are kept) of the Kalugano hospital. In his essay on Chekhov, Tvorchestvo iz nichego (“Creation from Nothing,” 1905), Lev Shestov calls Chekhov (the author of Ward No. 6, 1892) pevets beznadezhnosti (the poet of hopelessness):
Чтобы в двух словах определить его тенденцию, я скажу: Чехов был певцом безнадежности. Упорно, уныло, однообразно в течение всей своей почти 25-летней литературной деятельности Чехов только одно и делал: теми или иными способами убивал человеческие надежды. В этом, на мой взгляд, сущность его творчества.
To define his tendency in a word, I would say that Chekhov was the poet of hopelessness. Stubbornly, sadly, monotonously, during all the years of his literary activity, nearly a quarter of a century long, Chekhov was doing one alone: by one means or another he was killing human hopes. (I)
Shestov's essay has for the epigraph and ends in a line from Baudelaire’s sonnet with a coda Le Goût du néant (“The Taste for Nothingness”):
Résigne-toi, mon cœur; dors ton sommeil de brute
(Resign yourself, my heart; sleep your brutish sleep).
Baudelaire's sonnet ends in the line:
Avalanche, veux-tu m'emporter dans ta chute?
(Avalanche, will you sweep me along in your fall?)
Describing the morning of his departure from Ardis, Van mentions avalanche:
It was a quarter to six on the wristwatch hanging from the net of the hammock. His feet were stone cold. He groped for his loafers and walked aimlessly for some time among the trees of the coppice where thrushes were singing so richly, with such sonorous force, such fluty fioriture that one could not endure the agony of consciousness, the filth of life, the loss, the loss, the loss. Gradually, however, he regained a semblance of self-control by the magic method of not allowing the image of Ada to come anywhere near his awareness of himself. This created a vacuum into which rushed a multitude of trivial reflections. A pantomime of rational thought.
He took a tepid shower in the poolside shed, doing everything with comic deliberation, very slowly and cautiously, lest he break the new, unknown, brittle Van born a moment ago. He watched his thoughts revolve, dance, strut, clown a little. He found it delightful to imagine, for instance, that a cake of soap must be solid ambrosia to the ants swarming over it, and what a shock to be drowned in the midst of that orgy. The code, he reflected, did not allow to challenge a person who was not born a gentleman but exceptions might be made for artists, pianists, flutists, and if a coward refused, you could make his gums bleed with repeated slaps or, still better, thrash him with a strong cane — must not forget to choose one in the vestibule closet before leaving forever, forever. Great fun! He relished as something quite special the kind of one-legged jig a naked fellow performs when focusing on the shorts he tries to get into. He sauntered through a side gallery. He ascended the grand staircase. The house was empty, and cool, and smelled of carnations. Good morning, and good-bye, little bedroom. Van shaved, Van pared his toe-nails, Van dressed with exquisite care: gray socks, silk shirt, gray tie, dark-gray suit newly pressed — shoes, ah yes, shoes, mustn’t forget shoes, and without bothering to sort out the rest of his belongings, crammed a score of twenty-dollar gold coins into a chamois purse, distributed handkerchief, checkbook, passport, what else? nothing else, over his rigid person and pinned a note to the pillow asking to have his things packed and forwarded to his father’s address. Son killed by avalanche, no hat found, contraceptives donated to Old Guides’ Home. After the passage of about eight decades all this sounds very amusing and silly — but at the time he was a dead man going through the motions of an imagined dreamer. He bent down with a grunt, cursing his knee, to fix his skis, in the driving snow, on the brink of the slope, but the skis had vanished, the bindings were shoelaces, and the slope, a staircase. (1.41)
Ascension of Mt Yawn brings to mind ‘She Yawns Castle’ mentioned by Van when he describes his meetings with Ada (now married to Andrey Vinelander) in Mont Roux in October 1905:
A boxwood-lined path, presided over by a nostalgic-looking sempervirent sequoia (which American visitors mistook for a ‘Lebanese cedar’ — if they remarked it at all) took them to the absurdly misnamed rue du Mûrier, where a princely paulownia (‘mulberry tree!’ snorted Ada), standing in state on its incongruous terrace above a public W.C., was shedding generously its heart-shaped dark green leaves, but retained enough foliage to cast arabesques of shadow onto the south side of its trunk. A ginkgo (of a much more luminous greenish gold than its neighbor, a dingily yellowing local birch) marked the corner of a cobbled lane leading down to the quay. They followed southward the famous Fillietaz Promenade which went along the Swiss side of the lake from Valvey to the Château de Byron (or ‘She Yawns Castle’). The fashionable season had ended, and wintering birds, as well as a number of knickerbockered Central Europeans, had replaced the English families as well as the Russian noblemen from Nipissing and Nipigon. (3.8)
The Château de Byron (or 'She Yawns Castle') hints at Byron’s poem The Prisoner of Chillon (1816). It was translated into Russian by Zhukovski as Shil’yonskiy uznik (1822). In his poem K Vyazemskomu ("To Vyazemski," 1826) Pushkin says that upon all elements man is a tyrant, a traitor or a prisoner (tiran, predatel' ili uznik):
Так море, древний душегубец,
Воспламеняет гений твой?
Ты славишь лирой золотой
Нептуна грозного трезубец.
Не славь его. В наш гнусный век
Седой Нептун земли союзник.
На всех стихиях человек ―
Тиран, предатель или узник.
So ’tis the sea, the ancient assassin
that kindles into flame your genius?
You glorify with golden lyre
Neptune's dread trident?
No, praise him not! In our vile age
gray Neptune is the Earth's ally.
Upon all elements man is a tyrant,
a traitor or a prisoner.
(VN’s translation)
Three elements, fire, water, and air, destroy Marina (Van's, Ada's and Lucette's mother who dies of cancer and whose body is burnt, according to her instructions), Lucette (Van's and Ada's half-sister who in June 1901 commits suicide by jumping from Admiral Tobakoff into the Atlantic) and Demon Veen (Van's and Ada's father who in March 1905 perishes in a mysterious airplane disaster above the Pacific):
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.
For seven years, after she had dismissed her life with her husband, a successfully achieved corpse, as irrelevant, and retired to her still dazzling, still magically well-staffed Côte d’Azur villa (the one Demon had once given her), Van’s mother had been suffering from various ‘obscure’ illnesses, which everybody thought she made up, or talentedly simulated, and which she contended could be, and partly were, cured by willpower. Van visited her less often than dutiful Lucette, whom he glimpsed there on two or three occasions; and once, in 1899, he saw, as he entered the arbutus-and-laurel garden of Villa Armina, a bearded old priest of the Greek persuasion, clad in neutral black, leaving on a motor bicycle for his Nice parish near the tennis courts. Marina spoke to Van about religion, and Terra, and the Theater, but never about Ada, and just as he did not suspect she knew everything about the horror and ardor of Ardis, none suspected what pain in her bleeding bowels she was trying to allay by incantations, and ‘self-focusing’ or its opposite device, ‘self-dissolving.’ She confessed with an enigmatic and rather smug smile that much as she liked the rhythmic blue puffs of incense, and the dyakon’s rich growl on the ambon, and the oily-brown ikon coped in protective filigree to receive the worshipper’s kiss, her soul remained irrevocably consecrated, naperekor (in spite of) Dasha Vinelander, to the ultimate wisdom of Hinduism.
Early in 1900, a few days before he saw Marina, for the last time, at the clinic in Nice (where he learned for the first time the name of her illness), Van had a ‘verbal’ nightmare, caused, maybe, by the musky smell in the Miramas (Bouches Rouges-du-Rhône) Villa Venus. Two formless fat transparent creatures were engaged in some discussion, one repeating ‘I can’t!’ (meaning ‘can’t die’ — a difficult procedure to carry out voluntarily, without the help of the dagger, the ball, or the bowl), and the other affirming ‘You can, sir!’ She died a fortnight later, and her body was burnt, according to her instructions. (3.1)
Darkbloom ('Notes to Ada'): dyakon: deacon.