According to Van Veen (the narrator and main character in VN’s novel Ada, 1969), the novelistic theme of written communications really gets into its stride when he finds an anonymous note in the heart pocket of his dinner jacket:
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.
He found both girls and their governess in one of the ‘nursery parlors,’ a delightful sitting room with a balcony on which Mlle Larivière was sitting at a charmingly ornamented Pembroke table and reading with mixed feelings and furious annotations the third shooting script of Les Enfants Maudits. At a larger round table in the middle of the inner room, Lucette under Ada’s direction was trying to learn to draw flowers; several botanical atlases, large and small, were lying about. Everything appeared as it always used to be, the little nymphs and goats on the painted ceiling, the mellow light of the day ripening into evening, the remote dreamy rhythm of Blanche’s ‘linen-folding’ voice humming ‘Malbrough’ (...ne sait quand reviendra, ne sait quand reviendra) and the two lovely heads, bronze-black and copper-red, inclined over the table. Van realized that he must simmer down before consulting Ada — or indeed before telling her he wished to consult her. She looked gay and elegant; she was wearing his diamonds for the first time; she had put on a new evening dress with jet gleams, and — also for the first time — transparent silk stockings. (1.40)
Darkbloom ('Notes to Ada'): ne sais quand etc.: knows not when he’ll come back.
At the beginning of Conan Doyle's novel Uncle Bernac. A Memory of the Empire (1896) the narrator goes over his uncle's letter:
I dare say that I had already read my uncle's letter a hundred times, and I am sure that I knew it by heart. None the less I took it out of my pocket, and, sitting on the side of the lugger, I went over it again with as much attention as if it were for the first time. It was written in a prim, angular hand, such as one might expect from a man who had begun life as a village attorney, and it was addressed to Louis de Laval, to the care of William Hargreaves, of the Green Man in Ashford, Kent. The landlord had many a hogshead of untaxed French brandy from the Normandy coast, and the letter had found its way by the same hands.
'My dear nephew Louis,' said the letter, 'now that your father is dead, and that you are alone in the world, I am sure that you will not wish to carry on the feud which has existed between the two halves of the family. At the time of the troubles your father was drawn towards the side of the King, and I towards that of the people, and it ended, as you know, by his having to fly from the country, and by my becoming the possessor of the estates of Grosbois. No doubt it is very hard that you should find yourself in a different position to your ancestors, but I am sure that you would rather that the land should be held by a Bernac than by a stranger. From the brother of your mother you will at least always meet with sympathy and consideration.
'And now I have some advice for you. You know that I have always been a Republican, but it has become evident to me that there is no use in fighting against fate, and that Napoleon's power is far too great to be shaken. This being so, I have tried to serve him, for it is well to howl when you are among wolves. I have been able to do so much for him that he has become my very good friend, so that I may ask him what I like in return. He is now, as you are probably aware, with the army at Boulogne, within a few miles of Grosbois. If you will come over at once he will certainly forget the hostility of your father in consideration of the services of your uncle. It is true that your name is still proscribed, but my influence with the Emperor will set that matter right. Come to me, then, come at once, and come with confidence.
'Your uncle,
'C. Bernac.'
So much for the letter, but it was the outside which had puzzled me most. A seal of red wax had been affixed at either end, and my uncle had apparently used his thumb as a signet. One could see the little rippling edges of a coarse skin imprinted upon the wax. And then above one of the seals there was written in English the two words, 'Don't come.' It was hastily scrawled, and whether by a man or a woman it was impossible to say; but there it stared me in the face, that sinister addition to an invitation.
'Don't come!' Had it been added by this unknown uncle of mine on account of some sudden change in his plans? Surely that was inconceivable, for why in that case should he send the invitation at all? Or was it placed there by some one else who wished to warn me from accepting this offer of hospitality? The letter was in French. The warning was in English. Could it have been added in England? But the seals were unbroken, and how could any one in England know what were the contents of the letter? (Chapter I "The Coast of France")
According to General Murat (a character in Conan Doyle's novel), Napoleon (who was whistling "Malbrook" all the time that he was dressing this morning) does not know the difference between the "Malbrook" and the "Marseillaise:"
The famous soldier had paused opposite to us, and shook hands with my companion. His elegant well-knit figure, large fiery eyes, and noble bearing made this innkeeper’s boy a man who would have drawn attention and admiration to himself in any assembly in Europe. His mop of curly hair and thick red lips gave that touch of character and individuality to his appearance which redeem a handsome face from insipidity.
’I am told that it is devilish bad country for cavalry--all cut up into hedges and ditches,’ said he. ’The roads are good, but the fields are impossible. I hope that we are going soon, Monsieur de Caulaincourt, for our men will all settle down as gardeners if this continues. They are learning more about watering-pots and spuds than about horses and sabres.’
’The army, I hear, is to embark to-morrow.’
’Yes, yes, but you know very well that they will disembark again upon the wrong side of the Channel. Unless Villeneuve scatters the English fleet, nothing can be attempted.’
’Constant tells me that the Emperor was whistling "Malbrook" all the time that he was dressing this morning, and that usually comes before a move.’
’It was very clever of Constant to tell what tune it was which the Emperor was whistling,’ said Murat, laughing. ’For my part I do not think that he knows the difference between the "Malbrook" and the "Marseillaise." Ah, here is the Empress--and how charming she is looking!’ (Chapter XV. The Reception Of The Empress)
Louis Constant Wairy (1778–1845) was valet to Napoleon. On Demonia (aka Antiterra, Earth's twin planet on which Ada is set) General Murat (Napoleon’s brother-in-law) is blended with Marat (a French revolutionary leader assassinated in his bath by Charlotte Corday) and with Haji Murad (Tolstoy’s hero, a Caucasian chieftain):
The year 1880 (Aqua was still alive — somehow, somewhere!) was to prove to be the most retentive and talented one in his long, too long, never too long life. He was ten. His father had lingered in the West where the many-colored mountains acted upon Van as they had on all young Russians of genius. He could solve an Euler-type problem or learn by heart Pushkin’s ‘Headless Horseman’ poem in less than twenty minutes. With white-bloused, enthusiastically sweating Andrey Andreevich, he lolled for hours in the violet shade of pink cliffs, studying major and minor Russian writers — and puzzling out the exaggerated but, on the whole, complimentary allusions to his father’s volitations and loves in another life in Lermontov’s diamond-faceted tetrameters. He struggled to keep back his tears, while AAA blew his fat red nose, when shown the peasant-bare footprint of Tolstoy preserved in the clay of a motor court in Utah where he had written the tale of Murat, the Navajo chieftain, a French general’s bastard, shot by Cora Day in his swimming pool. What a soprano Cora had been! Demon took Van to the world-famous Opera House in Telluride in West Colorado and there he enjoyed (and sometimes detested) the greatest international shows — English blank-verse plays, French tragedies in rhymed couplets, thunderous German musical dramas with giants and magicians and a defecating white horse. He passed through various little passions — parlor magic, chess, fluff-weight boxing matches at fairs, stunt-riding — and of course those unforgettable, much too early initiations when his lovely young English governess expertly petted him between milkshake and bed, she, petticoated, petititted, half-dressed for some party with her sister and Demon and Demon’s casino-touring companion, bodyguard and guardian angel, monitor and adviser, Mr Plunkett, a reformed card-sharper.
Darkbloom ('Notes to Ada'): The Headless Horseman: Mayn Reid’s title is ascribed here to Pushkin, author of The Bronze Horseman.
Lermontov: author of The Demon.
Tolstoy etc.: Tolstoy’s hero, Haji Murad, (a Caucasian chieftain) is blended here with General Murat, Napoleon’s brother-in-law, and with the French revolutionary leader Marat assassinated in his bath by Charlotte Corday.
Btw., Conan Doyle's Uncle Bernac brings to mind Bernard Rattner (Van's closest friend at Chose, Van's English University) and his uncle, the great Rattner (the author of a book on Terra that Van and Ada are reading in "Ardis the Second"). Van writes to Bernard Rattner from the Kalugano hospital (where Van recovers from a wound that he received in a pistol duel with Captain Tapper, of Wild Violet Lodge):
He wrote Cordula a short letter, saying he had met with a little accident, was in the suite for fallen princes in Lakeview Hospital, Kalugano, and would be at her feet on Tuesday. He also wrote an even shorter letter to Marina, in French, thanking her for a lovely summer. This, on second thought, he decided to send from Manhattan to the Pisang Palace Hotel in Los Angeles. A third letter he addressed to Bernard Rattner, his closest friend at Chose, the great Rattner’s nephew. ‘Your uncle has most honest standards,’ he wrote, in part, ‘but I am going to demolish him soon.’ (1.42)
Darkbloom ('Notes to Ada'): uncle: ‘my uncle has most honest principles’.
(Eug. Onegin, One: I:1)
In Conan Doyle's Uncle Bernac the narrator (Louis de Laval) fights a pistol duel with Farley (a young Kentish squire) and shoots him through the shoulder:
But there was another reason besides the death of my father and the receipt of this letter from my uncle. Ashford was becoming too hot to hold me. I will say this for the English, that they were very generous hosts to the French emigrants. There was not one of us who did not carry away a kindly remembrance of the land and its people. But in every country there are overbearing, swaggering folk, and even in quiet, sleepy Ashford we were plagued by them. There was one young Kentish squire, Farley was his name, who had earned a reputation in the town as a bully and a roisterer. He could not meet one of us without uttering insults not merely against the present French Government, which might have been excusable in an English patriot, but against France itself and all Frenchmen. Often we were forced to be deaf in his presence, but at last his conduct became so intolerable that I determined to teach him a lesson. There were several of us in the coffee-room at the Green Man one evening, and he, full of wine and malice, was heaping insults upon the French, his eyes creeping round to me every moment to see how I was taking it. 'Now, Monsieur de Laval,' he cried, putting his rude hand upon my shoulder, 'here is a toast for you to drink. This is to the arm of Nelson which strikes down the French.' He stood leering at me to see if I would drink it. 'Well, sir,' said I, 'I will drink your toast if you will drink mine in return.' 'Come on, then!' said he. So we drank. 'Now, monsieur, let us have your toast,' said he. 'Fill your glass, then,' said I. 'It is full now.' 'Well, then, here's to the cannon-ball which carried off that arm!' In an instant I had a glass of port wine running down my face, and within an hour a meeting had been arranged. I shot him through the shoulder, and that night, when I came to the little window, Eugenie plucked off some of the laurel leaves and stuck them in my hair. (Chapter I. "The Coast of France")
On the other hand, Bernard Rattner makes one think of Sarah Bernhardt (1844-1923), a French actress who played l'Aiglon (Napoleon II, the son of Napoleon I and his second wife, Empress Marie Louise) in Edmond Rostand's play L'Aiglon (1900). Edmond is the name of Crodula's driver:
Cordula told Edmond: ‘Arrêtez près de what’s-it-called, yes, Albion, le store pour messieurs, in Luga’; and as peeved Van remonstrated: ‘You can’t go back to civilization in pajamas,’ she said firmly. ‘I shall buy you some clothes, while Edmond has a mug of coffee.’
She bought him a pair of trousers, and a raincoat. He had been waiting impatiently in the parked car and now under the pretext of changing into his new clothes asked her to drive him to some secluded spot, while Edmond, wherever he was, had another mug.
As soon as they reached a suitable area he transferred Cordula to his lap and had her very comfortably, with such howls of enjoyment that she felt touched and flattered.
‘Reckless Cordula,’ observed reckless Cordula cheerfully; ‘this will probably mean another abortion — encore un petit enfantôme, as my poor aunt’s maid used to wail every time it happened to her. Did I say anything wrong?’
‘Nothing wrong,’ said Van, kissing her tenderly; and they drove back to the diner. (1.42)
Darkbloom ('Notes to Ada'): encore un etc.: one more ‘baby ghost’ (pun).
Rostand is the author of Cyrano de Bergerac (1897). Describing his novel Letters from Terra, Van mentions all that Cyraniana:
Ada’s letters breathed, writhed, lived; Van’s Letters from Terra, ‘a philosophical novel,’ showed no sign of life whatsoever.
(I disagree, it’s a nice, nice little book! Ada’s note.)
He had written it involuntarily, so to speak, not caring a dry fig for literary fame. Neither did pseudonymity tickle him in reverse — as it did when he danced on his hands. Though ‘Van Veen’s vanity’ often cropped up in the drawing-room prattle among fan-wafting ladies, this time his long blue pride feathers remained folded. What, then, moved him to contrive a romance around a subject that had been worried to extinction in all kinds of ‘Star Rats,’ and ‘Space Aces’? We — whoever ‘we’ are — might define the compulsion as a pleasurable urge to express through verbal imagery a compendium of certain inexplicably correlated vagaries observed by him in mental patients, on and off, since his first year at Chose. Van had a passion for the insane as some have for arachnids or orchids.
There were good reasons to disregard the technological details involved in delineating intercommunication between Terra the Fair and our terrible Antiterra. His knowledge of physics, mechanicalism and that sort of stuff had remained limited to the scratch of a prep-school blackboard. He consoled himself with the thought that no censor in America or Great Britain would pass the slightest reference to ‘magnetic’ gewgaws. Quietly, he borrowed what his greatest forerunners (Counterstone, for example) had imagined in the way of a manned capsule’s propulsion, including the clever idea of an initial speed of a few thousand miles per hour increasing, under the influence of a Counterstonian type of intermediate environment between sibling galaxies, to several trillions of light-years per second, before dwindling harmlessly to a parachute’s indolent descent. Elaborating anew, in irrational fabrications, all that Cyraniana and ‘physics fiction’ would have been not only a bore but an absurdity, for nobody knew how far Terra, or other innumerable planets with cottages and cows, might be situated in outer or inner space: ‘inner,’ because why not assume their microcosmic presence in the golden globules ascending quick-quick in this flute of Moët or in the corpuscles of my, Van Veen’s —
(or my, Ada Veen’s)
— bloodstream, or in the pus of a Mr Nekto’s ripe boil newly lanced in Nektor or Neckton. Moreover, although reference works existed on library shelves in available, and redundant, profusion, no direct access could be obtained to the banned, or burned, books of the three cosmologists, Xertigny, Yates and Zotov (pen names), who had recklessly started the whole business half a century earlier, causing, and endorsing, panic, demency and execrable romanchiks. All three scientists had vanished now: X had committed suicide; Y had been kidnapped by a laundryman and transported to Tartary; and Z, a ruddy, white-whiskered old sport, was driving his Yakima jailers crazy by means of incomprehensible crepitations, ceaseless invention of invisible inks, chameleonizations, nerve signals, spirals of out-going lights and feats of ventriloquism that imitated pistol shots and sirens. (2.2)
Darkbloom ('Notes to Ada'): Cyraniana: allusion to Cyrano de Bergerac’s Histoire comique des Etats de la Lune.
Nekto: Russ., quidam.
romanchik: Russ., novelette.
"All that Cyraniana" and Marina's "choice Stanislavskiana" (1.10) make one think of the Sherlockiana.