Describing Flavita (the Russian Scrabble), Van Veen (the narrator and main character in VN’s novel Ada, 1969) says that at chess Ada was not as good as at Flavita and mentions Lalla Rookh chessmen, which not even cretins would want to play with:
Pedantic Ada once said that the looking up of words in a lexicon for any other needs than those of expression — be it instruction or art — lay somewhere between the ornamental assortment of flowers (which could be, she conceded, mildly romantic in a maidenly headcocking way) and making collage-pictures of disparate butterfly wings (which was always vulgar and often criminal). Per contra, she suggested to Van that verbal circuses, ‘performing words,’ ‘poodle-doodles,’ and so forth, might be redeemable by the quality of the brain work required for the creation of a great logogriph or inspired pun and should not preclude the help of a dictionary, gruff or complacent.
That was why she admitted ‘Flavita.’ The name came from alfavit, an old Russian game of chance and skill, based on the scrambling and unscrambling of alphabetic letters. It was fashionable throughout Estoty and Canady around 1790, was revived by the ‘Madhatters’ (as the inhabitants of New Amsterdam were once called) in the beginning of the nineteenth century, made a great comeback, after a brief slump, around 1860, and now a century later seems to be again in vogue, so I am told, under the name of ‘Scrabble,’ invented by some genius quite independently from its original form or forms.
Its chief Russian variety, current in Ada’s childhood, was played in great country houses with 125 lettered blocks. The object was to make rows and files of words on a board of 225 squares. Of these, 24 were brown, 12 black, 16 orange, 8 red, and the rest golden-yellow (i.e., flavid, in concession to the game’s original name). Every letter of the Cyrillic alphabet rated a number of points (the rare Russian F as much as 10, the common A as little as 1). Brown doubled the basic value of a letter, black tripled it. Orange doubled the sum of points for the whole word, red tripled the sum. Lucette would later recall how her sister’s triumphs in doubling, tripling, and even nonupling (when passing through two red squares) the numerical value of words evolved monstrous forms in her delirium during a severe streptococcal ague in September, 1888, in California.
For each round of the game each player helped himself to seven blocks from the container where they lay face down, and arrayed in turn his word on the board. In the case of the opening coup, on the still empty field, all he had to do was to align any two or all of his seven letters in such a way as to involve the central square, marked with a blazing heptagon. Subsequently, the catalyst of one of the letters already on the board had to be used for composing one’s word, across or down. That player won who collected the greatest number of points, letter by letter and word by word.
The set our three children received in 1884 from an old friend of the family (as Marina’s former lovers were known), Baron Klim Avidov, consisted of a large folding board of saffian and a boxful of weighty rectangles of ebony inlaid with platinum letters, only one of which was a Roman one, namely the letter J on the two joker blocks (as thrilling to get as a blank check signed by Jupiter or Jurojin). It was, incidentally, the same kindly but touchy Avidov (mentioned in many racy memoirs of the time) who once catapulted with an uppercut an unfortunate English tourist into the porter’s lodge for his jokingly remarking how clever it was to drop the first letter of one’s name in order to use it as a particule, at the Gritz, in Venezia Rossa.
By July the ten A’s had dwindled to nine, and the four D’s to three. The missing A eventually turned up under an Aproned Armchair, but the D was lost — faking the fate of its apostrophizable double as imagined by a Walter C. Keyway, Esq., just before the latter landed, with a couple of unstamped postcards, in the arms of a speechless multilinguist in a frock coat with brass buttons. The wit of the Veens (says Ada in a marginal note) knows no bounds.
Van, a first-rate chess player — he was to win in 1887 a match at Chose when he beat the Minsk-born Pat Rishin (champion of Underhill and Wilson, N.C.) — had been puzzled by Ada’s inability of raising the standard of her, so to speak, damsel-errant game above that of a young lady in an old novel or in one of those anti-dandruff color-photo ads that show a beautiful model (made for other games than chess) staring at the shoulder of her otherwise impeccably groomed antagonist across a preposterous traffic jam of white and scarlet, elaborately and unrecognizably carved, Lalla Rookh chessmen, which not even cretins would want to play with — even if royally paid for the degradation of the simplest thought under the itchiest scalp.
Ada did manage, now and then, to conjure up a combinational sacrifice, offering, say, her queen — with a subtle win after two or three moves if the piece were taken; but she saw only one side of the question, preferring to ignore, in the queer lassitude of clogged cogitation, the obvious counter combination that would lead inevitably to her defeat if the grand sacrifice were not accepted. On the Scrabble board, however, this same wild and weak Ada was transformed into a sort of graceful computing machine, endowed, moreover, with phenomenal luck, and would greatly surpass baffled Van in acumen, foresight and exploitation of chance, when shaping appetizing long words from the most unpromising scraps and collops. (1.36)
Darkbloom ('Notes to Ada'): alfavit: Russ., alphabet.
particule: ‘de’ or ‘d’’.
Pat Rishin: a play on ‘patrician’. One may recall Podgoretz (Russ. ‘underhill’) applying that epithet to a popular critic, would-be expert in Russian as spoken in Minsk and elsewhere. Minsk and Chess also figure in Chapter Six of Speak, Memory (p.133, N.Y. ed. 1966).
According to Byron, "life is too short for chess." In a letter of June 22, 1821, to Thomas Moore (who stayed in Paris) Byron (who lived in Ravenna) says that he is not quite sure that he will allow the Miss Byrons (legitimate or illegitimate) to read Lalla Rookh (an Oriental chivalric romance, 1817, by the Irish poet Thomas Moore, 1779-1852):
Your dwarf of a letter came yesterday. That is right;—keep to your ‘magnum opus’—magnoperate away. Now, if we were but together a little to combine our ‘Journal of Trevoux!’ But it is useless to sigh, and yet very natural,—for I think you and I draw better together, in the social line, than any two other living authors. I forgot to ask you, if you had seen your own panegyric in the correspondence of Mrs. Waterhouse and Colonel Berkeley? To be sure their moral is not quite exact; but your passion is fully effective; and all poetry of the Asiatic kind—I mean Asiatic, as the Romans called ‘Asiatic oratory,’ and not because the scenery is Oriental—must be tried by that test only. I am not quite sure that I shall allow the Miss Byrons (legitimate or illegitimate) to read Lalla Rookh—in the first place, on account of this said passion; and, in the second, that they mayn’t discover that there was a better poet than papa. You say nothing of politics—but, alas! what can be said?
The world is a bundle of hay,
Mankind are the asses who pull,
Each tugs it a different way,—
And the greatest of all is John Bull!
How do you call your new project? I have sent Murray a new tragedy, ycleped ‘Sardanapalus,’ writ according to Aristotle—all, save the chorus—could not reconcile me to that. I have begun another, and am in the second act;—so you see I saunter on as usual. Bowles’s answers have reached me; but I can’t go on disputing for ever,—particularly in a polite manner. I suppose he will take being silent for silenced. He has been so civil that I can’t find it in my liver to be facetious with him,—else I had a savage joke or two at his service.
The children of Demon Veen and Marina Durmanov, Van and Ada are brother and sister and life-long lovers. But, officially, they are first cousins: Van is the son of Demon and his wife Aqua (Marina's poor mad twin sister), and Ada is the daughter of Daniel Veen (Demon's first cousin, the father of Van's and Ada's half-sister Lucette) and his wife Marina. Lord Byron (1788-1824) had three daughters. Byron's only legitimate child, daughter of his wife Anne Isabella Milbanke (1792-1860), Ada Lovelace (1815-52) was an English mathematician and writer chiefly known for her work on Charles Babbage's proposed mechanical general-purpose computer, the Analytical Engine (she was the first to recognise that the machine had applications beyond pure calculation). Byron's extramarital children include Allegra Byron, who died in childhood, and possibly Elizabeth Medora Leigh (1814-49), daughter of his half-sister Augusta Leigh (1783-1851).
According to Van, on the Scrabble board Ada was transformed into a sort of graceful computing machine, endowed, moreover, with phenomenal luck. Augusta Ada King, Countess of Lovelace (Byron's daughter), is chiefly known for her work on Charles Babbage's proposed mechanical general-purpose computer. In his letter to Thomas Moore Lord Byron mentions his new tragedy, ycleped Sardanapalus (1821). It brings to mind "My sister, do you recollect / That turret, ‘Of the Moor’ yclept?" (the penultimate couplet in Van's and Ada's verses):
My sister, do you still recall
The blue Ladore and Ardis Hall?
Don’t you remember any more
That castle bathed by the Ladore?
Ma sœur, te souvient-il encore
Du château que baignait la Dore?
My sister, do you still recall
The Ladore-washed old castle wall?
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?
Oh! qui me rendra ma Lucile,
La Dore et l’hirandelle agile?
Oh, who will render in our tongue
The tender things he loved and sung?
They went boating and swimming in Ladore, they followed the bends of its adored river, they tried to find more rhymes to it, they walked up the hill to the black ruins of Bryant’s Castle, with the swifts still flying around its tower. They traveled to Kaluga and drank the Kaluga Waters, and saw the family dentist. Van, flipping through a magazine, heard Ada scream and say ‘chort’ (devil) in the next room, which he had never heard her do before. They had tea at a neighbor’s, Countess de Prey — who tried to sell them, unsuccessfully, a lame horse. They visited the fair at Ardisville where they especially admired the Chinese tumblers, a German clown, and a sword-swallowing hefty Circassian Princess who started with a fruit knife, went on to a bejeweled dagger and finally engulfed, string and all, a tremendous salami sausage.
They made love — mostly in glens and gullies.
To the average physiologist, the energy of those two youngsters might have seemed abnormal. Their craving for each other grew unbearable if within a few hours it was not satisfied several times, in sun or shade, on roof or in cellar, anywhere. Despite uncommon resources of ardor, young Van could hardly keep pace with his pale little amorette (local French slang). Their immoderate exploitation of physical joy amounted to madness and would have curtailed their young lives had not summer, which had appeared in prospect as a boundless flow of green glory and freedom, begun to hint lazily at possible failings and fadings, at the fatigue of its fugue — the last resort of nature, felicitous alliterations (when flowers and flies mime one another), the coming of a first pause in late August, a first silence in early September. The orchards and vineyards were particularly picturesque that year; and Ben Wright was fired after letting winds go free while driving Marina and Mlle Larivière home from the Vendange Festival at Brantôme near Ladore.
Which reminds us. Catalogued in the Ardis library under ‘Exot Lubr’ was a sumptuous tome (known to Van through Miss Vertograd’s kind offices) entitled ‘Forbidden Masterpieces: a hundred paintings representing a private part of Nat. Gal. (Sp. Sct.), printed for H.R.M. King Victor.’ This was (beautifully photographed in color) the kind of voluptuous and tender stuff that Italian masters allowed themselves to produce in between too many pious Resurrections during a too long and lusty Renaissance. The volume itself had been either lost or stolen or lay concealed in the attic among Uncle Ivan’s effects, some of them pretty bizarre. Van could not recollect whose picture it was that he had in mind, but thought it might have been attributed to Michelangelo da Caravaggio in his youth. It was an oil on unframed canvas depicting two misbehaving nudes, boy and girl, in an ivied or vined grotto or near a small waterfall overhung with bronze-tinted and dark emerald leaves, and great bunches of translucent grapes, the shadows and limpid reflections of fruit and foliage blending magically with veined flesh.
Anyway (this may be purely a stylistic transition), he felt himself transferred into that forbidden masterpiece, one afternoon, when everybody had gone to Brantôme, and Ada and he were sunbathing on the brink of the Cascade in the larch plantation of Ardis Park, and his nymphet had bent over him and his detailed desire. Her long straight hair that seemed of a uniform bluish-black in the shade now revealed, in the gem-like sun, strains of deep auburn alternating with dark amber in lanky strands which clothed her hollowed cheek or were gracefully cleft by her raised ivory shoulder. The texture, gloss and odor of those brown silks had once inflamed his senses at the very beginning of that fatal summer, and continued to act upon him, strongly and poignantly, long after his young excitement had found in her other sources of incurable bliss. At ninety, Van remembered his first fall from a horse with scarcely less breathlessness of thought than that first time she had bent over him and he had possessed her hair. It tickled his legs, it crept into his crotch, it spread all over his palpitating belly. Through it the student of art could see the summit of the trompe-l’œil school, monumental, multicolored, jutting out of a dark background, molded in profile by a concentration of caravagesque light. She fondled him; she entwined him: thus a tendril climber coils round a column, swathing it tighter and tighter, biting into its neck ever sweeter, then dissolving strength in deep crimson softness. There was a crescent eaten out of a vine leaf by a sphingid larva. There was a well-known micro lepidopterist who, having run out of Latin and Greek names, created such nomenclatorial items as Marykisme, Adakisme, Ohkisme. She did. Whose brush was it now? A titillant Titian? A drunken Palma Vecchio? No, she was anything but a Venetian blonde. Dosso Dossi, perhaps? Faun Exhausted by Nymph? Swooning Satyr? Doesn’t that new-filled molar hurt your tongue? It bruised me. I’m joking, my circus Circassian.
A moment later the Dutch took over: Girl stepping into a pool under the little cascade to wash her tresses, and accompanying the immemorial gesture of wringing them out by making wringing-out mouths — immemorial too.
My sister, do you recollect
That turret, ‘Of the Moor’ yclept?
My sister, do you still recall
The castle, the Ladore, and all? (1.22)
Darkbloom ('Notes to Ada'): Ma soeur te souvient-il encore: first line of the third sextet of Chateaubriand’s Romance à Hélène (‘Combien j’ai douce souvenance’) composed to an Auvergne tune that he heard during a trip to Mont Dore in 1805 and later inserted in his novella Le Dernier Abencerage. The final (fifth) sextet begins with ‘Oh! qui me rendra mon Hélène. Et ma montagne et le grand chêne’ — one of the leitmotivs of the present novel.
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?
Lucile: the name of Chateaubriand’s actual sister.
la Dore etc.: the Dore and the agile swallow.
vendage: vine-harvest.
Byron wrote his letter to Moore on June 22, 1821, in Ravenna (the city where Dante Alighieri, 1265-1321, spent the last years of his life). Ravenna is a poem by Alexander Blok (1880-1921), the first one in his cycle Ital’yanskie stikhi (“Italian Verses,” 1909):
Всё, что минутно, всё, что бренно,
Похоронила ты в веках.
Ты, как младенец, спишь, Равенна,
У сонной вечности в руках.
Рабы сквозь римские ворота
Уже не ввозят мозаик.
И догорает позолота
В стенах прохладных базилик.
От медленных лобзаний влаги
Нежнее грубый свод гробниц,
Где зеленеют саркофаги
Святых монахов и цариц.
Безмолвны гробовые залы,
Тенист и хладен их порог,
Чтоб черный взор блаженной Галлы,
Проснувшись, камня не прожёг.
Военной брани и обиды
Забыт и стёрт кровавый след,
Чтобы воскресший глас Плакиды
Не пел страстей протекших лет.
Далёко отступило море,
И розы оцепили вал,
Чтоб спящий в гробе Теодорих
О буре жизни не мечтал.
А виноградные пустыни,
Дома и люди - всё гроба.
Лишь медь торжественной латыни
Поёт на плитах, как труба.
Лишь в пристальном и тихом взоре
Равеннских девушек, порой,
Печаль о невозвратном море
Проходит робкой чередой.
Лишь по ночам, склонясь к долинам,
Ведя векам грядущим счёт,
Тень Данта с профилем орлиным
О Новой Жизни мне поёт.
All things ephemeral, fast-fading
In time's dark vaults, hid by you, lie.
A babe, you sleep, Ravenna, cradled
By slumberous eternity.
Through Rome's old gates the slaves no longer,
Bright slabs of marble bearing, pass.
The gilt looks charred, seems but to smoulder,
Not flame in the basilicas.
The moisture's indolent caresses
Have smoothed the stone of tombs where green
With age the coffins of the blessed,
Of holy monks stand and of queens.
The silent crypts, by all forsaken,
Cold shades invite that o'er them roam
So that the gaze of Galla, wakened,
Might not burn through the mass of stone.
The bloody trace of war's dark horrors
Has been forgot and wiped away
So that she might not sing the sorrows
And passions of a bygone day.
The sea's withdrawn, and o'er the ramparts
The roses climb and form a screen
So that Theodoric might never
Awake or of life's tempests dream.
A realm of death. Men, vineyards, houses
Are all as sepulchres. Alone
The brass of Latin, ageless, rousing,
Blares like a trumpet on the stones.
But in the gaze intent and peaceful
Of the Ravenna girls the sea
Is glimpsed at times, reminder wistful
Of something that no more will be.
And deep at night, the ages counting,
Those meant to come by fate's decree,
The eagle-profiled shade of Dante
Of Vita Nuova sings to me.
A line in the poem’s last stanza,Vedya vekam gryadushchim schyot (counting the centuries to come), brings to mind Ataulf Gryadushchiy (Athaulf the Future), the ruler of the Antiterran Germany mentioned by Van when he describes his novel Letters from Terra:
On Terra, Theresa had been a Roving Reporter for an American magazine, thus giving Van the opportunity to describe the sibling planet’s political aspect. This aspect gave him the least trouble, presenting as it did a mosaic of painstakingly collated notes from his own reports on the ‘transcendental delirium’ of his patients. Its acoustics were poor, proper names often came out garbled, a chaotic calendar messed up the order of events but, on the whole, the colored dots did form a geomantic picture of sorts. As earlier experimentators had conjectured, our annals lagged by about half a century behind Terra’s along the bridges of time, but overtook some of its underwater currents. At the moment of our sorry story, the king of Terra’s England, yet another George (there had been, apparently, at least half-a-dozen bearing that name before him) ruled, or had just ceased to rule, over an empire that was somewhat patchier (with alien blanks and blots between the British Islands and South Africa) than the solidly conglomerated one on our Antiterra. Western Europe presented a particularly glaring gap: ever since the eighteenth century, when a virtually bloodless revolution had dethroned the Capetians and repelled all invaders, Terra’s France flourished under a couple of emperors and a series of bourgeois presidents, of whom the present one, Doumercy, seemed considerably more lovable than Milord Goal, Governor of Lute! Eastward, instead of Khan Sosso and his ruthless Sovietnamur Khanate, a super Russia, dominating the Volga region and similar watersheds, was governed by a Sovereign Society of Solicitous Republics (or so it came through) which had superseded the Tsars, conquerors of Tartary and Trst. Last but not least, Athaulf the Future, a fair-haired giant in a natty uniform, the secret flame of many a British nobleman, honorary captain of the French police, and benevolent ally of Rus and Rome, was said to be in the act of transforming a gingerbread Germany into a great country of speedways, immaculate soldiers, brass bands and modernized barracks for misfits and their young. (2.2)
Athaulf the Future seems to be a cross between Adolf Hitler (der Führer und Kanzler des Deutschen Reiches in 1933-45) and Athaulf, the king of the Visigoths from 411 to 415. In Ravenna Blok mentions Galla Placida, Athaulf’s wife who ruled the Western Roman Empire from 425 to 437 (and who, like Dante, was buried in Ravenna). Hitler attacked the Soviet Russia on June 22, 1941, exactly 120 years, day for day, after Byron wrote his letter to Moore. In his poem Golos iz khora ("A Voice from the Choir," 1914) Blok says: O esli b znali vy, druz'ya, / Kholod i mrak gryadushchikh dney! ("If you only knew, my friends, / the cold and murk of the days to come!"). When Andrey Vinelander (Ada’s husband) falls ill, his sister Dorothy reads to him old issues of Golos Feniksa (“The Phoenix Voice,” a Russian-language newspaper in Arizona):
Much to Van’s amusement (the tasteless display of which his mistress neither condoned nor condemned), Andrey was laid up with a cold for most of the week. Dorothy, a born nurser, considerably surpassed Ada (who, never being ill herself, could not stand the sight of an ailing stranger) in readiness of sickbed attendance, such as reading to the sweating and suffocating patient old issues of the Golos Feniksa; but on Friday the hotel doctor bundled him off to the nearby American Hospital, where even his sister was not allowed to Visit him ‘because of the constant necessity of routine tests’ — or rather because the poor fellow wished to confront disaster in manly solitude. (3.8)
Blok is the author of Sirin i Alkonost, ptitsy radosti i pechali (“Sirin and Alkonost, the Birds of Joy and Sorrow,” 1899). Like Phoenix, Sirin is a fairy tale bird. Sirin was VN’s Russian nom de plume.
Describing his trysts with Ada in Mont Roux, Van mentions Château de Byron (or ‘She Yawns Castle’):
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)
Nipissing brings to mind Byron's epigram on Castlereagh:
Posterity will ne’er survey
a Nobler grave than this:
Here lie the bones of Castlereagh:
Stop, traveller, and piss!
At the picnic on Ada's sixteenth birthday Percy de Prey says that he must piss:
‘Okh, nado (I must) passati!’ exclaimed Percy in the Slavic slang he affected, blowing out his cheeks and fumbling frantically at his fly. In all his life, said stolid Greg to Van, he had never seen such an ugly engine, surgically circumcised, terrifically oversized and high-colored, with such a phenomenal cœur de bœuf; nor had either of the fascinated, fastidious boys ever witnessed the like of its sustained, strongly arched, practically everlasting stream. ‘Phoeh!’ uttered the young man with relief, and repacked. (1.39)
Darkbloom ('Notes to Ada'): passati: pseudo-Russian pun on ‘pass water’.
coeur de boeuf: bull’s heart (in shape).
A moment later a scuffle begins, and Van treats Greg and Percy to a most bracing exhibition of Oriental Skrotomoff (as Percy puts it):
He had started to walk back to the picnic glade when a mountain fell upon him from behind. With one violent heave he swung his attacker over his head. Percy crashed and lay supine for a moment or two. Van, his crab claws on the ready, contemplated him, hoping for a pretext to inflict a certain special device of exotic torture that he had not yet had the opportunity to use in a real fight.
‘You’ve broken my shoulder,’ grumbled Percy, half-rising and rubbing his thick arm. ‘A little more self-control, young devil.’
‘Stand up!’ said Van. ‘Come on, stand up! Would you like more of the same or shall we join the ladies? The ladies? All right. But, if you please, walk in front of me now.’
As he and his captive drew near the glade Van cursed himself for feeling rattled by that unexpected additional round; he was secretly out of breath, his every nerve twanged, he caught himself limping and correcting the limp — while Percy de Prey, in his magically immaculate white trousers and casually ruffled shirt, marched, buoyantly exercising his arms and shoulders, and seemed quite serene and in fact rather cheerful.
Presently Greg overtook them, bringing the cufflink — a little triumph of meticulous detection, and with a trite ‘Attaboy!’ Percy closed his silk cuff, thus completing his insolent restoration.
Their dutiful companion, still running, got first to the site of the finished feast; he saw Ada, facing him with two stipple-stemmed red boletes in one hand and three in the other; and, mistaking her look of surprise at the sound of his thudding hooves for one of concern, good Sir Greg hastened to cry out from afar: ‘He’s all right! He’s all right, Miss Veen’ — blind compassion preventing the young knight from realizing that she could not possibly have known yet what a clash had occurred between the beau and the beast.
‘Indeed I am,’ said the former, taking from her a couple of her toadstools, the girl’s favorite delicacy, and stroking their smooth caps. ‘And why shouldn’t I be? Your cousin has treated Greg and your humble servant to a most bracing exhibition of Oriental Skrotomoff or whatever the name may be.’ (ibid.)
In his letter to Moore Byron mentions the Oriental scenery of Lalla Rookh. When Van leaves Ardis after his first summer there, his groom, young Moore, holds for Van his favorite black horse, Morio:
She kissed him allover the face, she kissed his hands, then again his lips, his eyelids, his soft black hair. He kissed her ankles, her knees, her soft black hair.
‘When, my love, when again? In Luga? Kaluga? Ladoga? Where, when?’
‘That’s not the point,’ cried Van, ‘the point, the point, the point is — will you be faithful, will you be faithful to me?’
‘You spit, love,’ said wan-smiling Ada, wiping off the P’s and the F’s. ‘I don’t know. I adore you. I shall never love anybody in my life as I adore you, never and nowhere, neither in eternity, nor in terrenity, neither in Ladore, nor on Terra, where they say our souls go. But! But, my love, my Van, I’m physical, horribly physical, I don’t know, I’m frank, qu’y puis-je? Oh dear, don’t ask me, there’s a girl in my school who is in love with me, I don’t know what I’m saying —’
‘The girls don’t matter,’ said Van, ‘it’s the fellows I’ll kill if they come near you. Last night I tried to make a poem about it for you, but I can’t write verse; it begins, it only begins: Ada, our ardors and arbors — but the rest is all fog, try to fancy the rest.’
They embraced one last time, and without looking back he fled.
Stumbling on melons, fiercely beheading the tall arrogant fennels with his riding crop, Van returned to the Forest Fork. Morio, his favorite black horse, stood waiting for him, held by young Moore. He thanked the groom with a handful of stellas and galloped off, his gloves wet with tears. (1.25)
Darkbloom ('Notes to Ada'): qu’y puis-je? what can I do about it?
Stumbling on melons... arrogant fennels: allusions to passages in Marvell’s ‘Garden’ and Rimbaud’s ‘Mémoire’.
Van's favorite black horse, Morio brings to mind Drongo, a black horse mentioned by Ada:
And she remembered blushing painfully when somebody said poor Pig had a very sick mind and ‘a hardening of the artery,’ that is how she heard it, or perhaps ‘heartery’; but she also knew, even then, that the artery could become awfully long, for she had seen Drongo, a black horse, looking, she must confess, most dejected and embarrassed by what was happening to it right in the middle of a rough field with all the daisies watching. She thought, arch Ada said (how truthfully, was another question), that a foal was dangling, with one black rubber leg free, out of Drongo’s belly because she did not understand that Drongo was not a mare at all and had not got a pouch as the kangaroo had in an illustration she worshipped, but then her English nurse explained that Drongo was a very sick horse and everything fell into place. (1.18)
An anagram of Gordon, Drongo seems to hint at Byron. In the second part of his letter to Moore Byron mentions his horse's head:
Are you in Paris, or a villaging? If you are in the city, you will never resist the Anglo-invasion you speak of. I do not see an Englishman in half a year, and, when I do, I turn my horse’s head the other way. The fact, which you will find in the last note to the Doge, has given me a good excuse for quite dropping the least connection with travellers.
On Demonia (Earth's twin planet also known as Antiterra) England had annexed France in 1815 and Paris is also known as Lute:
The novelistic theme of written communications has now really got into its stride. When Van went up to his room he noticed, with a shock of grim premonition, a slip of paper sticking out of the heart pocket of his dinner jacket. Penciled in a large hand, with the contour of every letter deliberately whiffled and rippled, was the anonymous injunction: ‘One must not berne you.’ Only a French-speaking person would use that word for ‘dupe.’ Among the servants, fifteen at least were of French extraction — descendants of immigrants who had settled in America after England had annexed their beautiful and unfortunate country in 1815. To interview them all — torture the males, rape the females — would be, of course, absurd and degrading. With a puerile wrench he broke his best black butterfly on the wheel of his exasperation. The pain from the fang bite was now reaching his heart. He found another tie, finished dressing and went to look for Ada. (1.40)
In 1885, having completed his prep-school education, he went up to Chose University in England, where his fathers had gone, and traveled from time to time to London or Lute (as prosperous but not overrefined British colonials called that lovely pearl-gray sad city on the other side of the Channel). (1.28)
Darkbloom (“Notes to Ada”): Lute: from ‘Lutèce’, ancient name of Paris.
The battle of Waterloo was fought on Sunday, June 18th, 1815, marking the end of the Napoleonic Wars. Byron is the author of Ode to Napoleon Bounaparte (1814). In his poem K moryu ("To the Sea," 1824) Pushkin pairs Napoleon (who died on St. Helena in 1821) with Byron (who died in Greece in 1824).
At the beginning of The Corsair (1814), a tale in verse, Byron mentions “the dark-blue sea:”
O'er the glad waters of the dark blue sea,
Our thoughts as boundless, and our souls as free,
Far as the breeze can bear, the billows foam,
Survey our empire and behold our home! (Canto One)
Van, Ada and Lucette are the great-great-great-grandchildren of Prince Ivan Temnosiniy, a former viceroy of Estoty whose millenium-old name means in Russian "dark-blue:"
Re the ‘dark-blue’ allusion, left hanging:
A former viceroy of Estoty, Prince Ivan Temnosiniy, father of the children’s great-great-grandmother, Princess Sofia Zemski (1755–1809), and a direct descendant of the Yaroslav rulers of pre-Tartar times, had a millennium-old name that meant in Russian ‘dark blue.’ While happening to be immune to the sumptuous thrills of genealogic awareness, and indifferent to the fact that oafs attribute both the aloofness and the fervor to snobbishness, Van could not help feeling esthetically moved by the velvet background he was always able to distinguish as a comforting, omnipresent summer sky through the black foliage of the family tree. In later years he had never been able to reread Proust (as he had never been able to enjoy again the perfumed gum of Turkish paste) without a roll-wave of surfeit and a rasp of gravelly heartburn; yet his favorite purple passage remained the one concerning the name ‘Guermantes,’ with whose hue his adjacent ultramarine merged in the prism of his mind, pleasantly teasing Van’s artistic vanity.
Hue or who? Awkward. Reword! (marginal note in Ada Veen’s late hand) (1.1)