In her letter to Van Veen (the narrator and main character in VN's novel Ada, 1969) that Lucette (Van's and Ada's half-sister) brings to Kingston (Van's American University) Ada says that something is very wrong with the Ladore line:
‘O dear Van, this is the last attempt I am making. You may call it a document in madness or the herb of repentance, but I wish to come and live with you, wherever you are, for ever and ever. If you scorn the maid at your window I will aerogram my immediate acceptance of a proposal of marriage that has been made to your poor Ada a month ago in Valentine State. He is an Arizonian Russian, decent and gentle, not overbright and not fashionable. The only thing we have in common is a keen interest in many military-looking desert plants especially various species of agave, hosts of the larvae of the most noble animals in America, the Giant Skippers (Krolik, you see, is burrowing again). He owns horses, and Cubistic pictures, and "oil wells" (whatever they are-our father in hell who has some too, does not tell me, getting away with off-color allusions as is his wont). I have told my patient Valentinian that I shall give him a definite answer after consulting the only man I have ever loved or shall ever love. Try to ring me up tonight. Something is very wrong with the Ladore line, but I am assured that the trouble will be grappled with and eliminated before rivertide. Tvoya, tvoya, tvoya (thine). A.’
Van took a clean handkerchief from a tidy pile in a drawer, an action he analogized at once by plucking a leaf from a writing pad. It is wonderful how helpful such repetitive rhythms on the part of coincidental (white, rectangular) objects can be at such chaotic moments. He wrote a short aerogram and returned to the parlor. There he found Lucette putting on her fur coat, and five uncouth scholars, whom his idiot valet had ushered in, standing in a silent circle around the bland graceful modeling of the coming winter’s fashions. Bernard Rattner, a heavily bespectacled black-haired, red-cheeked thick-set young man greeted Van with affable relief.
‘Good Log!’ exclaimed Van, ‘I had understood we were to meet at your uncle’s place.’
With a quick gesture he centrifuged them to waiting-room chairs, and despite his pretty cousin’s protests (‘It’s a twenty minute’s walk; don’t accompany me’) campophoned for his car. Then he clattered, in Lucette’s wake, down the cataract of the narrow staircase, katrakatra (quatre à quatre). Please, children not katrakatra (Marina).
‘I also know,’ said Lucette as if continuing their recent exchange, ‘who he is.’
She pointed to the inscription ‘Voltemand Hall’ on the brow of the building from which they now emerged.
Van gave her a quick glance — but she simply meant the courtier in Hamlet.
They passed through a dark archway, and as they came out into the colored air of a delicate sunset, he stopped her and gave her the note he had written. It told Ada to charter a plane and be at his Manhattan flat any time tomorrow morning. He would leave Kingston around midnight by car. He still hoped the Ladore dorophone would be in working order before his departure. Le château que baignait le Dorophone. Anyway, he assumed the aerogram would reach her in a couple of hours. Lucette said ‘uhn-uhn,’ it would first fly to Mont-Dore — sorry, Ladore — and if marked ‘urgent’ would arrive at sunrise by dazzled messenger, galloping east on the postmaster’s fleabitten nag, because on Sundays you could not use motorcycles, old local law, l’ivresse de la vitesse, conceptions dominicales; but even so, she would have ample time to pack, find the box of Dutch crayons Lucette wanted her to bring if she came, and be in time for breakfast in Cordula’s recent bedroom. Neither half-sibling was at her or his best that day. (2.5)
Darkbloom (‘Notes to Ada’): l’ivresse etc.: the intoxication of speed, conceptions on Sundays.
The cataract of the narrow staircase and the Ladore dorophone (hydraulic telephone) seem to hint at Robert Southey's poem The Cataract of Lodore (1820):
"How does the water
Come down at Lodore?"
My little boy asked me
Thus, once on a time;
And moreover he tasked me
To tell him in rhyme.
Anon, at the word,
There first came one daughter,
And then came another,
To second and third
The request of their brother,
And to hear how the water
Comes down at Lodore,
With its rush and its roar,
As many a time
They had seen it before.
So I told them in rhyme,
For of rhymes I had store;
And 'twas in my vocation
For their recreation
That so I should sing;
Because I was Laureate
To them and the King.
From its sources which well
In the tarn on the fell;
From its fountains
In the mountains,
Its rills and its gills;
Through moss and through brake,
It runs and it creeps
For a while, till it sleeps
In its own little lake.
And thence at departing,
Awakening and starting,
It runs through the reeds,
And away it proceeds,
Through meadow and glade,
In sun and in shade,
And through the wood-shelter,
Among crags in its flurry,
Helter-skelter,
Hurry-skurry.
Here it comes sparkling,
And there it lies darkling;
Now smoking and frothing
Its tumult and wrath in,
Till, in this rapid race
On which it is bent,
It reaches the place
Of its steep descent.
The cataract strong
Then plunges along,
Striking and raging
As if a war raging
Its caverns and rocks among;
Rising and leaping,
Sinking and creeping,
Swelling and sweeping,
Showering and springing,
Flying and flinging,
Writhing and ringing,
Eddying and whisking,
Spouting and frisking,
Turning and twisting,
Around and around
With endless rebound:
Smiting and fighting,
A sight to delight in;
Confounding, astounding,
Dizzying and deafening the ear with its sound.
Collecting, projecting,
Receding and speeding,
And shocking and rocking,
And darting and parting,
And threading and spreading,
And whizzing and hissing,
And dripping and skipping,
And hitting and splitting,
And shining and twining,
And rattling and battling,
And shaking and quaking,
And pouring and roaring,
And waving and raving,
And tossing and crossing,
And flowing and going,
And running and stunning,
And foaming and roaming,
And dinning and spinning,
And dropping and hopping,
And working and jerking,
And guggling and struggling,
And heaving and cleaving,
And moaning and groaning;
And glittering and frittering,
And gathering and feathering,
And whitening and brightening,
And quivering and shivering,
And hurrying and skurrying,
And thundering and floundering;
Dividing and gliding and sliding,
And falling and brawling and sprawling,
And driving and riving and striving,
And sprinkling and twinkling and wrinkling,
And sounding and bounding and rounding,
And bubbling and troubling and doubling,
And grumbling and rumbling and tumbling,
And clattering and battering and shattering;
Retreating and beating and meeting and sheeting,
Delaying and straying and playing and spraying,
Advancing and prancing and glancing and dancing,
Recoiling, turmoiling and toiling and boiling,
And gleaming and streaming and steaming and beaming,
And rushing and flushing and brushing and gushing,
And flapping and rapping and clapping and slapping,
And curling and whirling and purling and twirling,
And thumping and plumping and bumping and jumping,
And dashing and flashing and splashing and clashing;
And so never ending, but always descending,
Sounds and motions for ever and ever are blending
All at once and all o'er, with a mighty uproar, -
And this way the water comes down at Lodore.
Quatre à quatre (very quickly down stairs) makes one think of the Quarterly Review (in which Southey published his essays) mentioned by Lord Byron in his poem John Keats (1821):
Who killed John Keats?
‘I,’ says the Quarterly,
So savage and Tartarly;
”Twas one of my feats.’
Who shot the arrow?
‘The poet-priest Milman
(So ready to kill man),
Or Southey or Barrow.
The poem's first line, "Who killed John Keats?", is an allusion to "Who Killed Cock Robin?" (a well-known nursery rhyme). Cock robin brings to mind Robin Sherwood, the old Ladore postmaster:
On Sunday mornings the mail came late, because of the voluminous Sunday supplements of the papers from Balticomore, and Kaluga, and Luga, which Robin Sherwood, the old postman, in his bright green uniform, distributed on horseback throughout the somnolent countryside. As Van, humming his school song — the only tune he could ever carry — skipped down the terrace steps, he saw Robin on his old bay holding the livelier black stallion of his Sunday helper, a handsome English lad whom, it was rumored behind the rose hedges, the old man loved more vigorously than his office required. (1.20)
Byron rhymes Quarterly with Tartarly. One of Ada's lovers, Percy de Prey goes to the Crimean War and, on the second day of the invasion, gets killed by an old Tartar (who shoots Percy dead with his own pistol). Describing his rival's death, Van mentions Ada's lethal shafts (cf. "Who shot the arrow?", a line in Byron's poem):
‘How strange, how strange,’ murmured Van when Cordula had finished her much less elaborate version of the report Van later got from Bill Fraser.
What a strange coincidence! Either Ada’s lethal shafts were at work, or he, Van, had somehow managed to dispatch her two wretched lovers in a duel with a dummy. (1.42)
Van calls Philip Rack (Lucette's music teacher who was poisoned by his jealous wife Elsie and who dies in Ward Five of the Kalugano hospital) "the rat:"
‘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’): komondi: Russian French: ‘comme on dit’, as they say.
In VN's novel Pale Fire (1962) Shade's commentator Kinbote says that Southey liked a roasted rat for supper - which is especially comic in view of the rats that devoured his Bishop (in Southey's poem God's Judgment on a Wicked Bishop).
In October 1905, in Mont Roux, when Ada refuses to leave her sick husband, Van compares Andrey Vinelander (an Arisonian Russian whom Ada mentioned in her letter to Van) to Keats:
As had been peculiar to his nature even in the days of his youth, Van was apt to relieve a passion of anger and disappointment by means of bombastic and arcane utterances which hurt like a jagged fingernail caught in satin, the lining of Hell.
‘Castle True, Castle Bright!’ he now cried, ‘Helen of Troy, Ada of Ardis! You have betrayed the Tree and the Moth!’
‘Perestagne (stop, cesse)!’
‘Ardis the First, Ardis the Second, Tanned Man in a Hat, and now Mount Russet —’
‘Perestagne!’ repeated Ada (like a fool dealing with an epileptic).
‘Oh! Qui me rendra mon Hélène —’
‘Ach, perestagne!’
‘— et le phalène.’
‘Je t’emplie ("prie" and "supplie"), stop, Van. Tu sais que j’en vais mourir.’
‘But, but, but’ — (slapping every time his forehead) — ‘to be on the very brink of, of, of — and then have that idiot turn Keats!’
‘Bozhe moy, I must be going. Say something to me, my darling, my only one, something that might help!’
There was a narrow chasm of silence broken only by the rain drumming on the eaves.
‘Stay with me, girl,’ said Van, forgetting everything — pride, rage, the convention of everyday pity.
For an instant she seemed to waver — or at least to consider wavering; but a resonant voice reached them from the drive and there stood Dorothy, gray-caped and mannish-hatted, energetically beckoning with her unfurled umbrella.
‘I can’t, I can’t, I’ll write you,’ murmured my poor love in tears.
Van kissed her leaf-cold hand and, letting the Bellevue worry about his car, letting all Swans worry about his effects and Mme Scarlet worry about Eveline’s skin trouble, he walked some ten kilometers along soggy roads to Rennaz and thence flew to Nice, Biskra, the Cape, Nairobi, the Basset range —
And o'er the summits of the Basset —
Would she write? Oh, she did! Oh, every old thing turned out superfine! Fancy raced fact in never-ending rivalry and girl giggles. Andrey lived only a few months longer, po pal’tzam (finger counting) one, two, three, four — say, five. Andrey was doing fine by the spring of nineteen six or seven, with a comfortably collapsed lung and a straw-colored beard (nothing like facial vegetation to keep a patient busy). Life forked and reforked. Yes, she told him. He insulted Van on the mauve-painted porch of a Douglas hotel where van was awaiting his Ada in a final version of Les Enfants Maudits. Monsieur de Tobak (an earlier cuckold) and Lord Erminin (a second-time second) witnessed the duel in the company of a few tall yuccas and short cactuses. Vinelander wore a cutaway (he would); Van, a white suit. Neither man wished to take any chances, and both fired simultaneously. Both fell. Mr Cutaway’s bullet struck the outsole of Van’s left shoe (white, black-heeled), tripping him and causing a slight fourmillement (excited ants) in his foot — that was all. Van got his adversary plunk in the underbelly — a serious wound from which he recovered in due time, if at all (here the forking swims in the mist). Actually it was all much duller. (3.8)
Darkbloom (‘Notes to Ada’): phalène: moth (see also p.111).
tu sais etc.: you know it will kill me.
Bozhe moy: Russ., oh, my God.
On Ada's sixteenth birthday Greg Erminin arrives at the site of the picnic on his Silentium motorcycle (1.39). This brings to mind the old local law, l’ivresse de la vitesse, conceptions dominicales (the intoxication of speed, conceptions on Sundays), forbidding to use motorcycles on Sundays. Katrakatra (quatre à quatre in Marina's Russian mispronunciation) makes one think of katarakta (cataract, a cloudy area in the lens of the eye). 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., Robert Southey said: "A man falls in love just as he falls down stairs. It is an accident."'
Lodore (1835), also published under the title The Beautiful Widow, is the penultimate novel by Mary Shelley (Percy Bysshe Shelley's widow).
19 April 2024, the bicentenary of Byron's death.