Describing the picnic on Ada's sixteenth birthday, Van Veen (the narrator and main character in VN's novel Ada, 1969) makes fun of a cliché "the conversation became general:"
Greg, assuming with touching simplicity that Ada would notice and approve, showered Mlle Larivière with a thousand little attentions — helping her out of her mauve jacket, pouring out for her the milk into Lucette’s mug from a thermos bottle, passing the sandwiches, replenishing, replenishing Mlle Larivière’s wineglass and listening with a rapt grin to her diatribes against the English, whom she said she disliked even more than the Tartars, or the, well, Assyrians.
‘England!’ she cried, ‘England! The country where for every poet, there are ninety-nine sales petits bourgeois, some of suspect extraction! England dares ape France! I have in that hamper there an English novel of high repute in which a lady is given a perfume — an expensive perfume! — called "Ombre Chevalier," which is really nothing but a fish — a delicious fish, true, but hardly suitable for scenting one’s handkerchief with. On the very next page, a soi-disant philosopher mentions "une acte gratuite" as if all acts were feminine, and a soi-disant Parisian hotelkeeper in the story says "je me regrette" for "je regrette"!’
‘D’accord,’ interjected Van, ‘but what about such atrocious bloomers in French translations from the English as for example —’
Unfortunately, or maybe fortunately, at that very moment Ada emitted a Russian exclamation of utmost annoyance as a steel-gray convertible glided into the glade. No sooner had it stopped than it was surrounded by the same group of townsmen, who now seemed to have multiplied in strange consequence of having shed coats and waistcoats. Thrusting his way through their circle, with every sign of wrath and contempt, young Percy de Prey, frilled-shifted and white-trousered, strode up to Marina’s deckchair. He was invited to join the party despite Ada’s trying to stop her silly mother with an admonishing stare and a private small shake of the head.
‘I dared not hope... Oh, I accept with great pleasure,’ answered Percy, whereupon — very much whereupon — the seemingly forgetful but in reality calculating bland bandit marched back to his car (near which a last wonderstruck admirer lingered) to fetch a bouquet of longstemmed roses stored in the boot.
‘What a shame that I should loathe roses,’ said Ada, accepting them gingerly.
The muscat wine was uncorked. Ada’s and Ida’s healths drunk. ‘The conversation became general,’ as Monparnasse liked to write.
Count Percy de Prey turned to Ivan Demianovich Veen:
‘I’m told you like abnormal positions?’
The half-question was half-mockingly put. Van looked through his raised lunel at the honeyed sun.
‘Meaning what?’ he enquired.
‘Well — that walking-on-your-hands trick. One of your aunt’s servants is the sister of one of our servants and two pretty gossips form a dangerous team’ (laughing). ‘The legend has it that you do it all day long, in every corner, congratulations!’ (bowing).
Van replied: ‘The legend makes too much of my specialty. Actually, I practice it for a few minutes every other night, don’t I, Ada?’ (looking around for her). ‘May I give you, Count, some more of the mouse-and-cat — a poor pun, but mine.’
‘Vahn dear,’ said Marina, who was listening with delight to the handsome young men’s vivacious and carefree prattle, ‘tell him about your success in London. Zhe tampri (please)!’
‘Yes,’ said Van, ‘it all started as a rag, you know, up at Chose, but then —’
‘Van!’ called Ada shrilly. ‘I want to say something to you, Van, come here.’
Dorn (flipping through a literary review, to Trigorin): ‘Here, a couple of months ago, a certain article was printed... a Letter from America, and I wanted to ask you, incidentally’ (taking Trigorin by the waist and leading him to the front of the stage), ‘because I’m very much interested in that question...’
Ada stood with her back against the trunk of a tree, like a beautiful spy who has just rejected the blindfold.
‘I wanted to ask you, incidentally, Van’ (continuing in a whisper, with an angry flick of the wrist) — ‘stop playing the perfect idiot host; he came drunk as a welt, can’t you see?’ (1.39)
Darkbloom ('Notes to Ada'): d’accord: Okay.
zhe etc.: Russ., distortion of je t’en prie.
Trigorin etc.: a reference to a scene in The Seagull.
The penname of Mlle Larivière (Lucette's governess who writes fiction), Guillaume de Monparnasse (sic, the leaving out of the ‘t’ makes it more intime) hints at Guy de Maupassant (1850-93), a French writer who did not exist on Demonia (Earth's twin planet, also known as Antiterra, on which Ada is set). In his story Boule de suif (1880) Maupassant uses the phrase la discussion devint générale (the discussion became general):
Les femmes se serrèrent, le ton de la voix fut baissé, et la discussion devint générale, chacun donnant son avis. C’était fort convenable du reste. Ces dames surtout trouvaient des délicatesses de tournures, des subtilités d’expression charmantes, pour dire les choses les plus scabreuses. Un étranger n’aurait rien compris tant les précautions du langage étaient observées. Mais la légère tranche de pudeur dont est bardée toute femme du monde ne recouvrant que la surface, elles s’épanouissaient dans cette aventure polissonne, s’amusaient follement au fond, se sentant dans leur élément, tripotant de l’amour avec la sensualité d’un cuisinier gourmand qui prépare le souper d’un autre.
The women drew together; they lowered their voices, and the discussion became general, each giving his or her opinion. But the conversation was not in the least coarse. The ladies, in particular, were adepts at delicate phrases and charming subtleties of expression to describe the most improper things. A stranger would have understood none of their allusions, so guarded was the language they employed. But, seeing that the thin veneer of modesty with which every woman of the world is furnished goes but a very little way below the surface, they began rather to enjoy this unedifying episode, and at bottom were hugely delighted —feeling themselves in their element, furthering the schemes of lawless love with the gusto of a gourmand cook who prepares supper for another.
A French handmaid at Ardis (one of Marina's servants), Blanche is the cook's niece. Van and Ada are the children of Demon Veen and Marina Durmanov. Describing the beginning of Demon's affair with Marina, Van mentions the violent dance called kurva or ‘ribbon boule’ (cf. Boule de suif):
Marina’s affair with Demon Veen started on his, her, and Daniel Veen’s birthday, January 5, 1868, when she was twenty-four and both Veens thirty.
As an actress, she had none of the breath-taking quality that makes the skill of mimicry seem, at least while the show lasts, worth even more than the price of such footlights as insomnia, fancy, arrogant art; yet on that particular night, with soft snow falling beyond the plush and the paint, la Durmanska (who paid the great Scott, her impresario, seven thousand gold dollars a week for publicity alone, plus a bonny bonus for every engagement) had been from the start of the trashy ephemeron (an American play based by some pretentious hack on a famous Russian romance) so dreamy, so lovely, so stirring that Demon (not quite a gentleman in amorous matters) made a bet with his orchestra-seat neighbor, Prince N., bribed a series of green-room attendants, and then, in a cabinet reculé (as a French writer of an earlier century might have mysteriously called that little room in which the broken trumpet and poodle hoops of a forgotten clown, besides many dusty pots of colored grease, happened to be stored) proceeded to possess her between two scenes (Chapter Three and Four of the martyred novel). In the first of these she had undressed in graceful silhouette behind a semitransparent screen, reappeared in a flimsy and fetching nightgown, and spent the rest of the wretched scene discussing a local squire, Baron d’O., with an old nurse in Eskimo boots. Upon the infinitely wise countrywoman’s suggestion, she goose-penned from the edge of her bed, on a side table with cabriole legs, a love letter and took five minutes to reread it in a languorous but loud voice for no body’s benefit in particular since the nurse sat dozing on a kind of sea chest, and the spectators were mainly concerned with the artificial moonlight’s blaze upon the lovelorn young lady’s bare arms and heaving breasts.
Even before the old Eskimo had shuffled off with the message, Demon Veen had left his pink velvet chair and proceeded to win the wager, the success of his enterprise being assured by the fact that Marina, a kissing virgin, had been in love with him since their last dance on New Year’s Eve. Moreover, the tropical moonlight she had just bathed in, the penetrative sense of her own beauty, the ardent pulses of the imagined maiden, and the gallant applause of an almost full house made her especially vulnerable to the tickle of Demon’s moustache. She had ample time, too, to change for the next scene, which started with a longish intermezzo staged by a ballet company whose services Scotty had engaged, bringing the Russians all the way in two sleeping cars from Belokonsk, Western Estoty. In a splendid orchard several merry young gardeners wearing for some reason the garb of Georgian tribesmen were popping raspberries into their mouths, while several equally implausible servant girls in sharovars (somebody had goofed — the word ‘samovars’ may have got garbled in the agent’s aerocable) were busy plucking marshmallows and peanuts from the branches of fruit trees. At an invisible sign of Dionysian origin, they all plunged into the violent dance called kurva or ‘ribbon boule’ in the hilarious program whose howlers almost caused Veen (tingling, and light-loined, and with Prince N.’s rose-red banknote in his pocket) to fall from his seat. (1.2)
Darkbloom ('Notes to Ada'): Belokonsk: the Russian twin of ‘Whitehorse’ (city in N.W. Canada).
Raspberries; ribbon: allusions to ludicrous blunders in Lowell’s versions of Mandelshtam’s poems (in the N.Y. Review, 23 December 1965).
Kurva is Russian for "whore." 'Ribbon boule' hints at Moscow's ribbon of boulevards at the end of Robert Lowell's version of Mandelshtam's poem Net, ne spryatat'sya mne ot velikoy mury ("No, I can't hide myself from the great nonsense," 1931). Mlle Larivière thinks that in some former Hindooish state she was a boulevardier in Paris:
She showed him next where the hammock — a whole set of hammocks, a canvas sack full of strong, soft nets — was stored: this was in the corner of a basement toolroom behind the lilacs, the key was concealed in this hole here which last year was stuffed by the nest of a bird — no need to identify it. A pointer of sunlight daubed with greener paint a long green box where croquet implements were kept; but the balls had been rolled down the hill by some rowdy children, the little Erminins, who were now Van’s age and had grown very nice and quiet.
‘As we all are at that age,’ said Van and stooped to pick up a curved tortoiseshell comb — the kind that girls use to hold up their hair behind; he had seen one, exactly like that, quite recently, but when, in whose hairdo?
‘One of the maids,’ said Ada. ‘That tattered chapbook must also belong to her, Les Amours du Docteur Mertvago, a mystical romance by a pastor.’
‘Playing croquet with you,’ said Van, ‘should be rather like using flamingoes and hedgehogs.’
‘Our reading lists do not match,’ replied Ada. ‘That Palace in Wonderland was to me the kind of book everybody so often promised me I would adore, that I developed an insurmountable prejudice toward it. Have you read any of Mlle Larivière’s stories? Well, you will. She thinks that in some former Hindooish state she was a boulevardier in Paris; and writes accordingly. We can squirm from here into the front hall by a secret passage, but I think we are supposed to go and look at the grand chêne which is really an elm.’ Did he like elms? Did he know Joyce’s poem about the two washerwomen? He did, indeed. Did he like it? He did. In fact he was beginning to like very much arbors and ardors and Adas. They rhymed. Should he mention it?
‘And now,’ she said, and stopped, staring at him.
‘Yes?’ he said, ‘and now?’
‘Well, perhaps, I ought not to try to divert you — after you trampled upon those circles of mine; but I’m going to relent and show you the real marvel of Ardis Manor; my larvarium, it’s in the room next to mine’ (which he never saw, never — how odd, come to think of it!). (1.8)
Darkbloom ('Notes to Ada'): Les amours du Dr Mertvago: play on ‘Zhivago’ (‘zhiv’ means in Russian ‘alive’ and ‘mertv’ dead).
grand chêne: big oak.
On Demonia England annexed France in 1815 and Paris (the capital of France) is also known as Lute (from Lutèce, the city's ancient name). At the beginning of his Préface to Nouveaux souvenirs intimes sur Guy de Maupassant (1962) François Tassart (Maupassant's valet in 1883-93) calls the Seine (the river that flows in Paris) "le toujours jeune fleuve de l’ancienne Lutèce:"
Plus les années se sont écoulées, plus j’ai senti, près de moi, celui qui fut mon maître, M. Guy de Maupassant, et il me semble que c’est hier, que j’ai entendu prononcer ces paroles sur sa tombe : « M. Guy de Maupassant avait pour aïeux : Rabelais, les forts et les clairs, ceux qui sont la lumière de notre littérature». Comme ces mots étaient justes, puisque tous les grands écrivains l’ont considéré, jusqu’à ce jour, comme un maître. Ses derniers moments me suivront jusqu’à l’au-delà ; quand, au matin du 3 juillet 1893, le toujours jeune fleuve de l’ancienne Lutèce, laissait entendre des murmures lugubres semblables à une oraison funèbre, il m’a semblé, qu’il prenait part aux souffrances de la fin dernière de celui qui l’avait tant aimé, si bien décrit et chanté dans sa poésie touchante.
Maupassant is the author of Bel-Ami (1885). When they meet in Paris in 1901, Van tells Greg Erminin that Mlle Larivière’s last novel is called L‘ami Luc and that she just got the Lebon Academy Prize for her copious rubbish:
Van was about to leave when a smartly uniformed chauffeur came up to inform’ my lord’ that his lady was parked at the corner of rue Saïgon and was summoning him to appear.
‘Aha,’ said Van, ‘I see you are using your British title. Your father preferred to pass for a Chekhovian colonel.’
‘Maude is Anglo-Scottish and, well, likes it that way. Thinks a title gets one better service abroad. By the way, somebody told me — yes, Tobak! — that Lucette is at the Alphonse Four. I haven’t asked you about your father? He’s in good health?’ (Van bowed,) ‘And how is the guvernantka belletristka?’
‘Her last novel is called L‘ami Luc. She just got the Lebon Academy Prize for her copious rubbish.’
They parted laughing. (3.2)
Darkbloom ('Notes to Ada'): guvernantka etc.: Russ., governess-novelist.
Lebon is Nobel, Luc is cul (Fr., ass) in reverse. In a letter of June 28, 1853, to Louise Colet (1810-76) Gustave Flaubert (1821-80) mentions le grand air froid du Parnasse and uses the phrase mon cul:
Aujourd’hui, par exemple, homme et femme tout ensemble, amant et maîtresse à la fois, je me suis promené à cheval dans une forêt par une après-midi d’automne sous des feuilles jaunes, et j’étais les chevaux, les feuilles, le vent, les paroles qu’on se disait et le soleil rouge qui faisait s’entre-fermer leurs paupières noyées d’amour. Est-ce orgueil ou pitié, est-ce le débordement niais d’une satisfaction de soi-même exagérée ? ou bien un vague et noble sentiment de religion ? Mais quand je rumine après les avoir senties ces journées-là, je serais tenté de faire une prière de remerciement au bon Dieu si je savais qu’il pût m’entendre. Qu’il soit donc béni pour ne pas m’avoir fait naître marchand de coton, vaudevilliste, homme d’esprit, etc. Chantons Apollon comme aux premiers jours, aspirons à pleins poumons le grand air froid du Parnasse, frappons sur nos guitares et nos cymbales, et tournons comme des derviches dans l’éternel brouhaha des formes et des idées.
En fait d’injures, de sottises, de bêtises, etc., je trouve qu’il ne faut se fâcher que lorsqu’on vous le dit en face. Faites-moi des grimaces dans le dos tant que vous voudrez, mon cul vous contemple !
Cymbales and derviches in Flaubert's letter bring to mind the accompaniment of dervish drums and a clash of cymbals in the orchestra mentioned by Van when he describes his performance in variety shows as Mascodagama (when Van dances on his hands):
The stage would be empty when the curtain went up; then, after five heartbeats of theatrical suspense, something swept out of the wings, enormous and black, to the accompaniment of dervish drums. The shock of his powerful and precipitous entry affected so deeply the children in the audience that for a long time later, in the dark of sobbing insomnias, in the glare of violent nightmares, nervous little boys and girls relived, with private accretions, something similar to the ‘primordial qualm,’ a shapeless nastiness, the swoosh of nameless wings, the unendurable dilation of fever which came in a cavern draft from the uncanny stage. Into the harsh light of its gaudily carpeted space a masked giant, fully eight feet tall, erupted, running strongly in the kind of soft boots worn by Cossack dancers. A voluminous, black shaggy cloak of the burka type enveloped his silhouette inquiétante (according to a female Sorbonne correspondent — we’ve kept all those cuttings) from neck to knee or what appeared to be those sections of his body. A Karakul cap surmounted his top. A black mask covered the upper part of his heavily bearded face. The unpleasant colossus kept strutting up and down the stage for a while, then the strut changed to the restless walk of a caged madman, then he whirled, and to a clash of cymbals in the orchestra and a cry of terror (perhaps faked) in the gallery, Mascodagama turned over in the air and stood on his head. (1.30)
Darkbloom ('Notes to Ada'): inquiétante: disturbing.
The characters in Flaubert's novel Madame Bovary (1857) include Dr Larivière. Describing the morning after the Night of the Burning Barn (when Van and Ada make love for the first time), Van mentions Floeberg's Ursula:
Van reached the third lawn, and the bower, and carefully inspected the stage prepared for the scene, ‘like a provincial come an hour too early to the opera after jogging all day along harvest roads with poppies and bluets catching and twinkle-twining in the wheels of his buggy’ (Floeberg’s Ursula). (1.20)
Darkbloom (‘Notes to Ada’): Floeberg: Flaubert’s style is mimicked in this pseudo quotation.
Omble chevalier (Salvelinus alpinus) is the freshwater fish Arctic char (golets in Russian).