Describing the death of Marina (Van's, Ada's and Lucette's mother who dies of cancer and whose body is burnt, according to her instructions), Van Veen (the narrator and main character in VN’s novel Ada, 1969) uses the phrase "now that everything was tripitaka (safely packed):"
Numbers and rows and series — the nightmare and malediction harrowing pure thought and pure time — seemed bent on mechanizing his mind. Three elements, fire, water, and air, destroyed, in that sequence, Marina, Lucette, and Demon. Terra waited.
For seven years, after she had dismissed her life with her husband, a successfully achieved corpse, as irrelevant, and retired to her still dazzling, still magically well-staffed Côte d’Azur villa (the one Demon had once given her), Van’s mother had been suffering from various ‘obscure’ illnesses, which everybody thought she made up, or talentedly simulated, and which she contended could be, and partly were, cured by willpower. Van visited her less often than dutiful Lucette, whom he glimpsed there on two or three occasions; and once, in 1899, he saw, as he entered the arbutus-and-laurel garden of Villa Armina, a bearded old priest of the Greek persuasion, clad in neutral black, leaving on a motor bicycle for his Nice parish near the tennis courts. Marina spoke to Van about religion, and Terra, and the Theater, but never about Ada, and just as he did not suspect she knew everything about the horror and ardor of Ardis, none suspected what pain in her bleeding bowels she was trying to allay by incantations, and ‘self-focusing’ or its opposite device, ‘self-dissolving.’ She confessed with an enigmatic and rather smug smile that much as she liked the rhythmic blue puffs of incense, and the dyakon’s rich growl on the ambon, and the oily-brown ikon coped in protective filigree to receive the worshipper’s kiss, her soul remained irrevocably consecrated, naperekor (in spite of) Dasha Vinelander, to the ultimate wisdom of Hinduism.
Early in 1900, a few days before he saw Marina, for the last time, at the clinic in Nice (where he learned for the first time the name of her illness), Van had a ‘verbal’ nightmare, caused, maybe, by the musky smell in the Miramas (Bouches Rouges-du-Rhône) Villa Venus. Two formless fat transparent creatures were engaged in some discussion, one repeating ‘I can’t!’ (meaning ‘can’t die’ — a difficult procedure to carry out voluntarily, without the help of the dagger, the ball, or the bowl), and the other affirming ‘You can, sir!’ She died a fortnight later, and her body was burnt, according to her instructions.
Van, a lucid soul, considered himself less brave morally than physically. He was always (meaning well into the nineteen-sixties) to recollect with reluctance, as if wishing to suppress in his mind a petty, timorous, and stupid deed (for, actually, who knows, the later antlers might have been set right then, with green lamps greening green growths before the hotel where the Vinelanders stayed) his reacting from Kingston to Lucette’s cable from Nice (‘Mother died this morning the funeral dash cremation dash is to be held after tomorrow at sundown’) with the request to advise him (‘please advise’) who else would be there, and upon getting her prompt reply that Demon had already arrived with Andrey and Ada, his cabling back: ‘Désolé de ne pouvoir être avec vous.’
He had roamed in Kingston’s Cascadilla Park, in the active sweet-swarming spring dusk, so much more seraphic than that flurry of cables. The last time he had seen mummy-wizened Marina and told her he must return to America (though actually there was no hurry — only the smell in her hospital room that no breeze could dislodge), she had asked, with her new, tender, myopic, because inward, expression: ‘Can’t you wait till I’m gone?’; and his reply had been ‘I’ll be back on the twenty-fifth. I have to deliver an address on the Psychology of Suicide’; and she had said, stressing, now that everything was tripitaka (safely packed), the exact kinship: ‘Do tell them about your silly aunt Aqua,’ whereupon he had nodded, with a smirk, instead of answering: ‘Yes, mother,’ Hunched up in a last band of low sun, on the bench where he had recently fondled and fouled a favorite, lanky, awkward, black girl student, Van tortured himself with thoughts of insufficient filial affection — a long story of unconcern, amused scorn, physical repulsion, and habitual dismissal. He looked around, making wild amends, willing her spirit to give him an unequivocal, and indeed all-deciding sign, of continued being behind the veil of time, beyond the flesh of space. But no response came, not a petal fell on his bench, not a gnat touched his hand. He wondered what really kept him alive on terrible Antiterra, with Terra a myth and all art a game, when nothing mattered any more since the day he slapped Valerio’s warm bristly cheek; and whence, from what deep well of hope, did he still scoop up a shivering star, when everything had an edge of agony and despair, when another man was in every bedroom with Ada. (3.1)
Darkbloom (‘Notes to Ada’): dyakon: deacon.
désolé etc.: distressed at being unable to be with you.
From Encyclopedic Theosophical Glossary:
Tripitaka (Sanskrit) Tripiṭaka [from tri three + piṭaka basket] The three baskets, pitaka being the name by which one of the collections of Buddhist sacred scriptures is known. This threefold collection consists of Sastra-pitaka often called the Sutra-pitaka, the rules or precepts; Vinaya-pitaka, the discipline and rules for the priesthood and ascetics; and Abhidharma-pitaka, the philosophical and metaphysical dissertations. “There is a fourth division — the Samyakta Pitaka. But as it is a later addition by the Chinese Buddhists, it is not accepted by the Southern Church of Siam and Ceylon” (TG 341).
As she speaks to Van, Lucette (Van's and Ada's half-sister who on June 4, 1901, commits suicide by jumping into the Atlantic from Admiral Tobakoff) mentions the Trimurti stocks:
‘The last time I saw you,’ said Van, ‘was two years ago, at a railway station. You had just left Villa Armina and I had just arrived. You wore a flowery dress which got mixed with the flowers you carried because you moved so fast — jumping out of a green calèche and up into the Ausonian Express that had brought me to Nice.’
‘Très expressioniste. I did not see you or I would have stopped to tell you what I had just learned. Imagine, mother knew everything — your garrulous dad told her everything about Ada and you!’
‘But not about you and her.’
Lucette asked him not to mention that sickening, maddening girl. She was furious with Ada and jealous by proxy. Her Andrey, or rather his sister on his behalf, he was too stupid even for that, collected progressive philistine Art, bootblack blotches and excremental smears on canvas, imitations of an imbecile’s doodles, primitive idols, aboriginal masks, objets trouvés, or rather troués, the polished log with its polished hole à la Heinrich Heideland. His bride found the ranch yard adorned with a sculpture, if that’s the right word, by old Heinrich himself and his four hefty assistants, a huge hideous lump of bourgeois mahogany, ten feet high, entitled ‘Maternity,’ the mother (in reverse) of all the plaster gnomes and pig-iron toadstools planted by former Vinelanders in front of their dachas in Lyaska.
The barman stood wiping a glass in endless slow motion as he listened to Lucette’s denunciation with the limp smile of utter enchantment.
‘And yet (odnako),’ said Van in Russian, ‘you enjoyed your stay there, in 1896, so Marina told me.’
‘I did not (nichego podobnago)! I left Agavia minus my luggage in the middle of the night, with sobbing Brigitte. I’ve never seen such a household. Ada had turned into a dumb brune. The table talk was limited to the three C’s — cactuses, cattle, and cooking, with Dorothy adding her comments on cubist mysticism. He’s one of those Russians who shlyopayut (slap) to the toilet barefoot, shave in their underwear, wear garters, consider hitching up one’s pants indecent, but when fishing out coins hold their right trouser pocket with the left hand or vice versa, which is not only indecent but vulgar. Demon is, perhaps, disappointed they don’t have children, but really he "engripped" the man after the first flush of father-in-law-hood. Dorothy is a prissy and pious monster who comes to stay for months, orders the meals, and has a private collection of keys to the servants’ rooms — which our bumb brunette should have known — and other little keys to open people’s hearts — she has tried, by the way, to make a practicing Orthodox not only of every American Negro she can catch, but of our sufficiently pravoslavnaya mother — though she only succeeded in making the Trimurti stocks go up. One beautiful, nostalgic night —’
‘Po-russki,’ said Van, noticing that an English couple had ordered drinks and settled down to some quiet auditing.
‘Kak-to noch’yu (one night), when Andrey was away having his tonsils removed or something, dear watchful Dorochka went to investigate a suspicious noise in my maid’s room and found poor Brigitte fallen asleep in the rocker and Ada and me tryahnuvshih starinoy (reshaking old times) on the bed. That’s when I told Dora I would not stand her attitude, and immediately left for Monarch Bay.’
‘Some people are certainly odd,’ said Van. ‘If you’ve finished that sticky stuff let’s go back to your hotel and get some lunch.’ (3.4)
Darkbloom (‘Notes to Ada’): troués: with a hole or holes.
engripped: from prendre en grippe, to conceive a dislike.
pravoslavnaya: Russ., Greek-Orthodox.
From Encyclopedic Theosophical Glossary:
Trimurti (Sanskrit) Trimūrti [from tri three + mūrti imbodiment, form] The Hindu triad, consisting of Brahma, the emanator or evolver; Vishnu, the sustainer or preserver; and Siva, the beneficent, the destroyer, and the regenerator. These three entities as individualized divinities form the apex or crown of the spirit of the solar system. In the human being, Brahma, Vishnu, and Siva represent the three divine-spiritual principles of the seven — directly following forth from the highly recondite superspiritual triangle which, with the seven principles, make the full ten human principles.
In the world of matter, Brahma, Vishnu, and Siva are each personified by earth, water, and fire, i.e., each of these divinities combines in itself these three elements, one predominating when the divinity manifests one of its three fundamental gunas. “In Indian Puranas it is Vishnu, the first, and Brahma, the second logos, or the ideal and practical creators, who are respectively represented, one as manifesting the lotus, the other as issuing from it” (SD 1:381n). But Brahma, for instance, because of the significance of expansion inherent in the name, could equally well be looked upon as the source of Vishnu, manifesting as the cosmic waters or Second Logos. This perhaps is the reason why in this Trimurti, Brahma is called the emanator or evolver, and Vishnu the sustainer or preserver.
These three persons or aspects of the triad are really three sides of the same cosmic reality; and to gain an accurate understanding of their respective functions it should be born in mind that any one of the three may at any time, if the matter is considered from a different viewpoint, be said to contain the functioning elements of the other two in addition to its own. “Brahma, Vishnu, and Siva are a trinity in a unity, and, like the Christian trinity, they are mutually convertible. In the esoteric doctrine they are one and the same manifestation of him ‘whose name is too sacred to be pronounced, and whose power is too majestic and infinite to be imagined’ ” (IU 2:277-8).
In the Vedas, where neither Brahma nor Siva is known under these names, the trinity usually consists of Agni (fire), Vayu (air), and Surya (sun), the originants of the terrestrial, atmospheric, and heavenly fire respectively. The Padma-Purana states that in the beginning the great Vishnu desiring to produce the whole world, became threefold, in himself the creator, preserver, and destroyer. In order to produce the world, the supreme spirit emanated from the right side of his body, himself, as Brahma; then, to preserve the universe, he produced from the left side of his body, Vishnu; and to destroy the world he produced from the middle of his body the eternal Siva.
The three persons of the Trimurti are the three qualificative gunas or attributes of the universe of differentiated spirit-matter, self-formative, self-preserving, and self-destroying for purposes of regeneration and perfectibility. Because Brahma is the considered the formative or emanative force, it is said to be personified imbodiment of rajas, the quality of activity, of desire for creation — that desire owing to which the universe and everything in it is called forth into being. Vishnu because of its preservative and sustaining function is said to be the imbodied sattva, which characterizes the intermediate period between full growth and the beginning of decay; and Siva is said to be the imbodiment of tamas which, in one of its functions, is the attribute of stagnancy and final decay, and thus becomes the destroyer.
The Jewish Qabbalistic triad, Sephirah, Hokhmah, and Binah, is identical in certain philosophical respects with the Hindu Trimurti.
When they meet in Mont Roux in October 1905, Ada (now married to Andrey Vinelander) tells Van that the priest at Marina's funeral looked like an extra in a technicolor incarnation of Vishnu:
‘My upper-lip space feels indecently naked.’ (He had shaved his mustache off with howls of pain in her presence). ‘And I cannot keep sucking in my belly all the time.’
‘Oh, I like you better with that nice overweight — there’s more of you. It’s the maternal gene, I suppose, because Demon grew leaner and leaner. He looked positively Quixotic when I saw him at Mother’s funeral. It was all very strange. He wore blue mourning. D’Onsky’s son, a person with only one arm, threw his remaining one around Demon and both wept comme des fontaines. Then a robed person who looked like an extra in a technicolor incarnation of Vishnu made an incomprehensible sermon. Then she went up in smoke. He said to me, sobbing: "I will not cheat the poor grubs!" Practically a couple of hours after he broke that promise we had sudden visitors at the ranch — an incredibly graceful moppet of eight, black-veiled, and a kind of duenna, also in black, with two bodyguards. The hag demanded certain fantastic sums — which Demon, she said, had not had time to pay, for "popping the hymen" — whereupon I had one of our strongest boys throw out vsyu (the entire) kompaniyu.’
‘Extraordinary,’ said Van, ‘they had been growing younger and younger — I mean the girls, not the strong silent boys. His old Rosalind had a ten-year-old niece, a primed chickabiddy. Soon he would have been poaching them from the hatching chamber.’
‘You never loved your father,’ said Ada sadly.
‘Oh, I did and do — tenderly, reverently, understandingly, because, after all, that minor poetry of the flesh is something not unfamiliar to me. But as far as we are concerned, I mean you and I, he was buried on the same day as our uncle Dan.’
‘I know, I know. It’s pitiful! And what use was it? Perhaps I oughtn’t to tell you, but his visits to Agavia kept getting rarer and shorter every year. Yes, it was pitiful to hear him and Andrey talking. I mean, Andrey n’a pas le verbe facile, though he greatly appreciated — without quite understanding it — Demon’s wild flow of fancy and fantastic fact, and would often exclaim, with his Russian "tssk-tssk" and a shake of the head — complimentary and all that — "what a balagur (wag) you are!" — And then, one day, Demon warned me that he would not come any more if he heard again poor Andrey’s poor joke (Nu i balagur-zhe vï, Dementiy Labirintovich) or what Dorothy, l’impayable ("priceless for impudence and absurdity") Dorothy, thought of my camping out in the mountains with only Mayo, a cowhand, to protect me from lions.’
‘Could one hear more about that?’ asked Van.
‘Well, nobody did. All this happened at a time when I was not on speaking terms with my husband and sister-in-law, and so could not control the situation. Anyhow, Demon did not come even when he was only two hundred miles away and simply mailed instead, from some gaming house, your lovely, lovely letter about Lucette and my picture.’
‘One would also like to know some details of the actual coverture — frequence of intercourse, pet names for secret warts, favorite smells —’
‘Platok momental’no (handkerchief quick)! Your right nostril is full of damp jade,’ said Ada, and then pointed to a lawnside circular sign, rimmed with red, saying: Chiens interdits and depicting an impossible black mongrel with a white ribbon around its neck: Why, she wondered, should the Swiss magistrates forbid one to cross highland terriers with poodles? (3.8)
Darkbloom (‘Notes to Ada’): comme etc.: shedding floods of tears.
N’a pas le verbe etc.: lacks the gift of the gab.
chiens etc.: dogs not allowed.
Van's and Ada's father who in March 1905 perishes in a mysterious airplane disaster above the Pacific, Demon Veen is the son of Dedalus Veen. From Encyclopedic Theosophical Glossary:
Labyrinth [from Greek labyrinthos probably from laura crypt] The complex prison built for King Minos of Crete by Daedalus to house the Minotaur. Theseus succeeded in finding his way out with the aid of the thread given him by the king’s daughter, Ariadne. Symbolically, it may be the celestial labyrinth, into which the souls of the departed plunge, and also its earthly counterpart, as shown in the tortuous subterranean chambers in ancient Egypt, or similar constructions under temples in various ancient lands. These labyrinths also symbolized the races of mankind, and the succession of gods, demigods, and heroes who preceded mortal kings. These underground chambers in general were used as initiation chambers in the Mysteries, where candidates were taught by actual experience various truths regarding human destiny after death; hence there was an exact analogy between the physical construction of these chambers and the truths thus symbolized. The labyrinth therefore refers both to an inner and outer mystery. One of the coins unearthed at Knossos in Crete showed a diagram of such a maze, and this identical pattern, exact to the last important detail, has been found among the Pima Indians of Arizona (cf. Theosophical Path, April 1925). Clearly its real significance was common knowledge to initiates in all parts of the world.
Concerning the labyrinth of ancient Egypt, “Herodotus, preserved for posterity the remembrance of that wonder of the world, the great Labyrinth. . . . Herodotus says that he found therein 3,000 chambers; half subterranean and the other half above-ground. ‘The upper chambers,’ he says, ‘I myself passed through and examined in detail. In the underground ones (which may exist till now, for all the archaeologists know), the keepers of the building would not let me in, for they contain the sepulchres of the kings who built the Labyrinth, and also those of the sacred crocodiles. The upper chambers I saw and examined with my own eyes, and found them to excel all other human productions’ ” (IU 1:522-3).
The series of chambers in the labyrinth was an attempt to portray in the Mysteries by means of a construction — whether subterranean or above ground — the peregrinations of the human monad in its postmortem destiny, as it wandered from chamber to chamber — from sphere to sphere or globe to globe — in the celestial spaces, finally returning to its point of departure, in this instance to human reimbodiment.
Ada's husband, Andrey Vinelander is an Arizonian Russian. Old issues of Golos Feniksa (The Phoenix Voice, Russian language newspaper in Arizona) that Dorothy Vinelander (Ada's sister-in-law) reads to her sick brother bring to mind the following entry in Encyclopedic Theosophical Glossary:
Phoenix [from Greek phoinix phoenix, date palm, Phoenician] The sacred bird possibly taken from the Egyptian benu. The most familiar legend about it in Europe, dating from the early medieval period, is that a bird from India lives on air for 500 years when, leaving its native land, it flies to the temple at Heliopolis, with its wings laden with spices. Flying to the altar, it burns itself to ashes on the sacred fire, whence arises a new or young phoenix. This bird is already feathered on the day following the suicide of its parent which was its former self and, having its wings full grown on the third day, it wings its way forth. Pliny and Herodotus give slightly different versions. Ancient art pictured the phoenix as a bird with wings partly golden and partly red in color; in outline and size it was drawn to resemble an eagle.
The ancients gave different time periods as the extent of the cycle for which the phoenix stood as a symbol: 500 years, 600 years (the Babylonian naros), 1461 years, and others, as the phoenix did not symbolize any one cycle but was a general emblem of cycles themselves.
“The Phoenix — called by the Hebrews Onech (from Phenoch, Enoch, symbol of a secret cycle and initiation), and by the Turks, Kerkes — lives a thousand years, after which, kindling a flame, it is self-consumed; and then, reborn from itself — it lives another thousand years, up to seven times seven . . . when comes the day of Judgment. The ‘seven times seven,’ 49, are a transparent allegory, and an allusion to the forty-nine ‘Manus,’ the Seven rounds, and the seven times seven human cycles in each Round on each globe. The Kerkes and the Onech stand for a race cycle, and the mystical tree Ababel — the ‘Father Tree’ in the Kuran — shoots out new branches and vegetation at every resurrection of the Kerkes or Phoenix; the ‘Day of Judgment’ meaning a ‘minor Pralaya’ . . . ‘The Phoenix is very plainly the same as the Simorgh, the Persian roc, and the account which is given us of this last bird, yet more decisively establishes the opinion that the death and revival of the Phoenix exhibit the successive destruction and reproduction of the world, which many believed to be effected by the agency of a fiery deluge’ . . . and a watery one in turn” (SD 2:617).
One equivalent in Hindu literature is Karttikeya riding on his peacock. In China the phoenix is the king of birds, eating only bamboo sprouts, drinking only spring water. His resting place is the tung tree.