Describing his first erotic experience at Riverlane (Van's boarding school), Van Veen (the narrator and main character in VN's novel Ada, 1969) mentions the round creamy charms of Bronzino’s Cupid:
When, in the middle of the twentieth century, Van started to reconstruct his deepest past, he soon noticed that such details of his infancy as really mattered (for the special purpose the reconstruction pursued) could be best treated, could not seldom be only treated, when reappearing at various later stages of his boyhood and youth, as sudden juxtapositions that revived the part while vivifying the whole. This is why his first love has precedence here over his first bad hurt or bad dream.
He had just turned thirteen. He had never before left the comforts of the paternal roof. He had never before realized that such ‘comforts’ might not be taken for granted, only occurring in some introductory ready-made metaphor in a book about a boy and a school. A few blocks from the schoolgrounds, a widow, Mrs Tapirov, who was French but spoke English with a Russian accent, had a shop of objets d’art and more or less antique furniture. He visited it on a bright winter day. Crystal vases with crimson roses and golden-brown asters were set here and there in the fore part of the shop — on a gilt-wood console, on a lacquered chest, on the shelf of a cabinet, or simply along the carpeted steps leading to the next floor where great wardrobes and flashy dressers semi-encircled a singular company of harps. He satisfied himself that those flowers were artificial and thought it puzzling that such imitations always pander so exclusively to the eye instead of also copying the damp fat feel of live petal and leaf. When he called next day for the object (unremembered now, eighty years later) that he wanted repaired or duplicated, it was not ready or had not been obtained. In passing, he touched a half-opened rose and was cheated of the sterile texture his fingertips had expected when cool life kissed them with pouting lips. ‘My daughter,’ said Mrs Tapirov, who saw his surprise, ‘always puts a bunch of real ones among the fake pour attraper le client. You drew the joker.’ As he was leaving she came in, a schoolgirl in a gray coat with brown shoulder-length ringlets and a pretty face. On another occasion (for a certain part of the thing — a frame, perhaps — took an infinite time to heal or else the entire article proved to be unobtainable after all) he saw her curled up with her schoolbooks in an armchair — a domestic item among those for sale. He never spoke to her. He loved her madly. It must have lasted at least one term.
That was love, normal and mysterious. Less mysterious and considerably more grotesque were the passions which several generations of schoolmasters had failed to eradicate, and which as late as 1883 still enjoyed an unparalleled vogue at Riverlane. Every dormitory had its catamite. One hysterical lad from Upsala, cross-eyed, loose-lipped, with almost abnormally awkward limbs, but with a wonderfully tender skin texture and the round creamy charms of Bronzino’s Cupid (the big one, whom a delighted satyr discovers in a lady’s bower), was much prized and tortured by a group of foreign boys, mostly Greek and English, led by Cheshire, the rugby ace; and partly out of bravado, partly out of curiosity, Van surmounted his disgust and coldly watched their rough orgies. Soon, however, he abandoned this surrogate for a more natural though equally heartless divertissement. (1.4)
Darkbloom ('Notes to Ada'): pour attraper le client: to fool the customer.
Van has in mind Agnolo Bronzino's painting Venus, Cupid and Satyr (c. 1553-55). The Portrait of Lucrezia Panciatichi (c. 1545) by Bronzino is described in Henry James's novel The Wings of the Dove (1902). Confronting a Bronzino portrait in an English country house, a young American heiress (Milly Theale) comes face to face with her own predicament. Describing his journey with Lucette (Van's and Ada's half-sister) on Admiral Tobakoff, Van mentions Dr Henry’s oil of Atlantic prose:
She asked questions with pretty co-ed looks of doelike devotion, but it did not require much scientific training on a professor’s part to perceive that her charming embarrassment and the low notes furring her voice were as much contrived as her afternoon effervescence had been. Actually she thrashed in the throes of an emotional disarray which only the heroic self-control of an American aristocrat could master. Long ago she had made up her mind that by forcing the man whom she absurdly but irrevocably loved to have intercourse with her, even once, she would, somehow, with the help of some prodigious act of nature, transform a brief tactile event into an eternal spiritual tie; but she also knew that if it did not happen on the first night of their voyage, their relationship would slip back into the exhausting, hopeless, hopelessly familiar pattern of banter and counterbanter, with the erotic edge taken for granted, but kept as raw as ever. He understood her condition or at least believed, in despair, that he had understood it, retrospectively, by the time no remedy except Dr Henry’s oil of Atlantic prose could be found in the medicine chest of the past with its banging door and toppling toothbrush. (3.5)
Darkbloom ('Notes to Ada'): Henry: Henry James’ style is suggested by the italicized ‘had’.
In the first sentence of the second paragraph of Henry James' story The Jolly Corner (1908) the word 'had' is italicized:
The great fact all the while, however, had been the incalculability; since he had supposed himself, from decade to decade, to be allowing, and in the most liberal and intelligent manner, for brilliancy of change. He actually saw that he had allowed for nothing; he missed what he would have been sure of finding, he found what he would never have imagined. Proportions and values were upside-down; the ugly things he had expected, the ugly things of his far-away youth, when he had too promptly waked up to a sense of the ugly—these uncanny phenomena placed him rather, as it happened, under the charm; whereas the “swagger” things, the modern, the monstrous, the famous things, those he had more particularly, like thousands of ingenuous enquirers every year, come over to see, were exactly his sources of dismay. They were as so many set traps for displeasure, above all for reaction, of which his restless tread was constantly pressing the spring. It was interesting, doubtless, the whole show, but it would have been too disconcerting hadn’t a certain finer truth saved the situation. He had distinctly not, in this steadier light, come over all for the monstrosities; he had come, not only in the last analysis but quite on the face of the act, under an impulse with which they had nothing to do. He had come—putting the thing pompously—to look at his “property,” which he had thus for a third of a century not been within four thousand miles of; or, expressing it less sordidly, he had yielded to the humour of seeing again his house on the jolly corner, as he usually, and quite fondly, described it—the one in which he had first seen the light, in which various members of his family had lived and had died, in which the holidays of his overschooled boyhood had been passed and the few social flowers of his chilled adolescence gathered, and which, alienated then for so long a period, had, through the successive deaths of his two brothers and the termination of old arrangements, come wholly into his hands. He was the owner of another, not quite so “good”—the jolly corner having been, from far back, superlatively extended and consecrated; and the value of the pair represented his main capital, with an income consisting, in these later years, of their respective rents which (thanks precisely to their original excellent type) had never been depressingly low. He could live in “Europe,” as he had been in the habit of living, on the product of these flourishing New York leases, and all the better since, that of the second structure, the mere number in its long row, having within a twelvemonth fallen in, renovation at a high advance had proved beautifully possible. (Chapter I)
The title of Henry James' story makes one thonk of "jolly good name" (a phrase used by Van with respect to Lucette's Quietus Pills):
They came in at the beginning of an introductory picture, featuring a cruise to Greenland, with heavy seas in gaudy technicolor. It was a rather irrelevant trip since their Tobakoff did not contemplate calling at Godhavn; moreover, the cinema theater was swaying in counterrhythm to the cobalt-and-emerald swell on the screen. No wonder the place was emptovato, as Lucette observed, and she went on to say that the Robinsons had saved her life by giving her on the eve a tubeful of Quietus Pills.
‘Want one? One a day keeps "no shah" away. Pun. You can chew it, it’s sweet.’
‘Jolly good name. No, thank you, my sweet. Besides you have only five left.’
‘Don’t worry, I have it all planned out. There may be less than five days.’
‘More in fact, but no matter. Our measurements of time are meaningless; the most accurate clock is a joke; you’ll read all about it someday, you just wait.’
‘Perhaps, not. I mean, perhaps I shan’t have the patience. I mean, his charwoman could never finish reading Leonardo’s palm. I may fall asleep before I get through your next book.’
‘An art-class legend,’ said Van.
‘That’s the final iceberg, I know by the music. Let’s go, Van! Or you want to see Hoole as Hooan?’
She brushed his cheek with her lips in the dark, she took his hand, she kissed his knuckles, and he suddenly thought: after all, why not? Tonight? Tonight. (3.5)
Darkbloom ('Notes to Ada'): emptovato: Anglo-Russian, rather empty.
The main character in The Jolly Corner, Spencer Brydon, and his old housekeeper, Mrs. Muldoon, bring to mind Spencer Muldoon, one of the three blind characters in Ada:
A teasy problem demanded Dr Veen’s presence in England.
Old Paar of Chose had written him that the ‘Clinic’ would like him to study a singular case of chromesthesia, but that given certain aspects of the case (such as a faint possibility of trickery) Van should come and decide for himself whether he thought it worth the trouble to fly the patient to Kingston for further observation. One Spencer Muldoon, born eyeless, aged forty, single, friendless, and the third blind character in this chronicle, had been known to hallucinate during fits of violent paranoia, calling out the names of such shapes and substances as he had learned to identify by touch, or thought he recognized through the awfulness of stories about them (falling trees, extinct saurians) and which now pressed on him from all sides, alternating with periods of stupor, followed invariably by a return to his normal self, when for a week or two he would finger his blind books or listen, in red-lidded bliss, to records of music, bird songs, and Irish poetry.
His ability to break space into ranks and files of ‘strong’ and ‘weak’ things in what seemed a wallpaper pattern remained a mystery until one evening, when a research student (R.S. — he wished to remain that way), who intended to trace certain graphs having to do with the metabasis of another patient, happened to leave within Muldoon’s reach one of those elongated boxes of new, unsharpened, colored-chalk pencils whose mere evocation (Dixon Pink Anadel!) make one’s memory speak in the language of rainbows, the tints of their painted and polished woods being graded spectrally in their neat tin container. Poor Muldoon’s childhood could not come to him with anything like such iridian recall, but when his groping fingers opened the box and palpated the pencils, a certain expression of sensual relish appeared on his parchment-pale face. Upon observing that the blind man’s eyebrows went up slightly at red, higher at orange, still higher at the shrill scream of yellow and then stepped down through the rest of the prismatic spectrum, R.S. casually told him that the woods were dyed differently — ‘red,’ ‘orange,’ ‘yellow,’ et cetera, and quite as casually Muldoon rejoined that they also felt different one from another.
In the course of several tests conducted by R.S. and his colleagues, Muldoon explained that by stroking the pencils in turn he perceived a gamut of ‘stingles,’ special sensations somehow allied to the tingling aftereffects of one’s skin contact with stinging nettles (he had been raised in the country somewhere between Ormagh and Armagh, and had often tumbled, in his adventurous boyhood, the poor thick-booted soul, into ditches and even ravines), and spoke eerily of the ‘strong’ green stingle of a piece of blotting paper or the wet weak pink tingle of nurse Langford’s perspiring nose, these colors being checked by himself against those applied by the researchers to the initial pencils. In result of the tests, one was forced to assume that the man’s fingertips could convey to his brain ‘a tactile transcription of the prismatic specter’ as Paar put it in his detailed report to Van.
When the latter arrived, Muldoon had not quite come out of a state of stupor more protracted than any preceding one. Van, hoping to examine him on the morrow, spent a delightful day conferring with a bunch of eager psychologists and was interested to spot among the nurses the familiar squint of Elsie Langford, a gaunt girl with a feverish flush and protruding teeth, who had been obscurely involved in a ‘poltergeist’ affair at another medical institution. He had dinner with old Paar in his rooms at Chose and told him he would like to have the poor fellow transferred to Kingston, with Miss Langford, as soon as he was fit to travel. The poor fellow died that night in his sleep, leaving the entire incident suspended in midair within a nimbus of bright irrelevancy. (3.4)