Describing his dinner with Ada’s family at the Bellevue Hotel in Mont Roux, Van Veen (the narrator and main character in VN’s novel Ada, 1969) mentions Yuzlik (the director of Don Juan’s Last Fling, a film in which Ada played the part of the gitanilla) and two agents of Lemorio, the flamboyant comedian:
The first person whom she introduced him to, at that island of fauteuils and androids, now getting up from around a low table with a copper ashbowl for hub, was the promised belle-sœur, a short plumpish lady in governess gray, very oval-faced, with bobbed auburn hair, a sallowish complexion, smoke-blue unsmiling eyes, and a fleshy little excrescence, resembling a ripe maize kernel, at the side of one nostril, added to its hypercritical curve by an afterthought of nature as not seldom happens when a Russian’s face is mass-produced. The next outstretched hand belonged to a handsome, tall, remarkably substantial and cordial nobleman who could be none other than the Prince Gremin of the preposterous libretto, and whose strong honest clasp made Van crave for a disinfecting fluid to wash off contact with any of her husband’s public parts. But as Ada, beaming again, made fluttery introductions with an invisible wand, the person Van had grossly mistaken for Andrey Vinelander was transformed into Yuzlik, the gifted director of the ill-fated Don Juan picture. 'Vasco de Gama, I presume,' Yuzlik murmured. Beside him, ignored by him, unknown by name to Ada, and now long dead of dreary anonymous ailments, stood in servile attitudes the two agents of Lemorio, the flamboyant comedian (a bearded boor of exceptional, and now also forgotten, genius, whom Yuzlik passionately wanted for his next picture). Lemorio had stood him up twice before, in Rome and San Remo, each time sending him for 'preliminary contact' those two seedy, incompetent, virtually insane, people with whom by now Yuzlik had nothing more to discuss, having exhausted everything, topical gossip, Lemorio's sex life, Hoole's hooliganism, as well as the hobbies of his, Yuzlik's, three sons and those of their, the agents', adopted child, a lovely Eurasian lad, who had recently been slain in a night-club fracas - which closed that subject. Ada had welcomed Yuzlik’s unexpected reality in the lounge of the Bellevue not only as a counterpoise to the embarrassment and the deceit, but also because she hoped to sidle into What Daisy Knew; however, besides having no spells left in the turmoil of her spirit for business blandishments, she soon understood that if Lemorio were finally engaged, he would want her part for one of his mistresses. (3.8)
Darkbloom ('Notes to Ada'): libretto: that of the opera Eugene Onegin, a travesty of Pushkin’s poem.
Le Morio is the French name of the butterfly Nymphalis antiopa. Describing his visit to Brownhill (Ada’s school for girls), Van mentions the Camberwell Beauty (Nymphalis antiopa) that lay tightly closed for an instant upon our palm, and suddenly our hand was empty:
As Ada reached for the cream, he caught and inspected her dead-shamming hand. We remember the Camberwell Beauty that lay tightly closed for an instant upon our palm, and suddenly our hand was empty. He saw, with satisfaction, that her fingernails were now long and sharp.
‘Not too sharp, are they, my dear,’ he asked for the benefit of dura Cordula, who should have gone to the ‘powder room’ — a forlorn hope.
‘Why, no,’ said Ada.
‘You don’t,’ he went on, unable to stop, ‘you don’t scratch little people when you stroke little people? Look at your little girl friend’s hand’ (taking it), ‘look at those dainty short nails (cold innocent, docile little paw!). She could not catch them in the fanciest satin, oh, no, could you, Ardula — I mean, Cordula?’
Both girls giggled, and Cordula kissed Ada’s cheek. Van hardly knew what reaction he had expected, but found that simple kiss disarming and disappointing. The sound of the rain was lost in a growing rumble of wheels. He glanced at his watch; glanced up at the clock on the wall. He said he was sorry — that was his train.
‘Not at all,’ wrote Ada (paraphrased here) in reply to his abject apologies, ‘we just thought you were drunk; but I’ll never invite you to Brownhill again, my love.’ (1.27)
Describing Ada’s fits of scratching, Van compares Ada’s skin to a stretch of Samarkand satin and mentions her dark eyes veiled as in an erotic trance:
The girl’s pale skin, so excitingly delicate to Van’s eye, so vulnerable to the beast’s needle, was, nevertheless, as strong as a stretch of Samarkand satin and withstood all self-flaying attempts whenever Ada, her dark eyes veiled as in the erotic trances Van had already begun to witness during their immoderate kissing, her lips parted, her large teeth lacquered with saliva, scraped with her five fingers the pink mounds caused by the rare insect’s bite — for it is a rather rare and interesting mosquito (described — not quite simultaneously — by two angry old men — the second was Braun, the Philadelphian dipterist, a much better one than the Boston professor), and rare and rapturous was the sight of my beloved trying to quench the lust of her precious skin, leaving at first pearly, then ruby, stripes along her enchanting leg and briefly attaining a drugged beatitude into which, as into a vacuum; the ferocity of the itch would rush with renewed strength. (1.17)
Samarkand is a city in the southeastern Uzbekistan. Yuzlik is Uzbek for “veil.” Szhala ruki pod tyomnoy vual’yu… (“Hands clenched, under the dark veil,” 1911) is a poem by Anna Akhmatova (who in the 1940s lived in evacuation in Tashkent):
Сжала руки под темной вуалью…
«Отчего ты сегодня бледна?»
— Оттого, что я терпкой печалью
Напоила его допьяна.
Как забуду? Он вышел, шатаясь,
Искривился мучительно рот…
Я сбежала, перил не касаясь,
Я бежала за ним до ворот.
Задыхаясь, я крикнула: «Шутка
Все, что было. Уйдешь, я умру».
Улыбнулся спокойно и жутко
И сказал мне: «Не стой на ветру».
Hands clasped, under the dark veil…
«Today, why are you so pale?»
– Because I’ve made him drink his fill
Of sorrow’s bitter tale.
How could I forget? He staggered,
His mouth twisted with pain...
I ran down not touching the rail,
I ran all the way to the gate.
«I was joking,» I cried, breathlessly.
«If you go away, I am dead.»
Smiling strangely, calmly,
«Don’t stand in the wind,» he said.
(transl. A. S. Kline)
During his first tea party at Ardis Van notices Ada’s trick of hiding her badly bitten fingernails by fisting her hand:
There was not much to remember about that first tea. He noticed Ada’s trick of hiding her fingernails by fisting her hand or stretching it with the palm turned upward when helping herself to a biscuit. She was bored and embarrassed by everything her mother said and when the latter started to talk about the Tarn, otherwise the New Reservoir, he noted that Ada was no longer sitting next to him but standing a little way off with her back to the tea table at an open casement with the slim-waisted dog on a chair peering over splayed front paws out into the garden too, and she was asking it in a private whisper what it was it had sniffed.
‘You can see the Tarn from the library window,’ said Marina. ‘Presently Ada will show you all the rooms in the house. Ada?’ (She pronounced it the Russian way with two deep, dark ‘a’s, making it sound rather like ‘ardor.’)
‘You can catch a glint of it from here too,’ said Ada, turning her head and, pollice verso, introducing the view to Van who put his cup down, wiped his mouth with a tiny embroidered napkin, and stuffing it into his trouser pocket, went up to the dark-haired, pale-armed girl. As he bent toward her (he was three inches taller and the double of that when she married a Greek Catholic, and his shadow held the bridal crown over her from behind), she moved her head to make him move his to the required angle and her hair touched his neck. In his first dreams of her this re-enacted contact, so light, so brief, invariably proved to be beyond the dreamer’s endurance and like a lifted sword signaled fire and violent release.
‘Finish your tea, my precious,’ called Marina.
Presently, as Marina had promised, the two children went upstairs. ‘Why do stairs creak so desperately, when two children go upstairs,’ she thought, looking up at the balustrade along which two left hands progressed with strikingly similar flips and glides like siblings taking their first dancing lesson. ‘After all, we were twin sisters; everybody knows that.’ The same slow heave, she in front, he behind, took them over the last two steps, and the staircase was silent again. ‘Old-fashioned qualms,’ said Marina. (1.5)
Darkbloom ('Notes to Ada'): pollice verso: Lat., thumbs down.
On Admiral Tobakoff Lucette (Van’s and Ada’s half-sister) tells Van about Ada’s wedding and mentions Ada’s thick white veil:
Demon, she said, had told her, last year at the funeral, that he was buying an island in the Gavailles (‘incorrigible dreamer,’ drawled Van). He had ‘wept like a fountain’ in Nice, but had cried with even more abandon in Valentina, at an earlier ceremony, which poor Marina did not attend either. The wedding — in the Greek-faith style, if you please — looked like a badly faked episode in an ‘old movie, the priest was gaga and the dyakon drunk, and — perhaps, fortunately — Ada’s thick white veil was as impervious to light as a widow’s weeds. Van said he would not listen to that.
‘Oh, you must,’ she rejoined, ‘hotya bï potomu (if only because) one of her shafer’s (bachelors who take turns holding the wedding crown over the bride’s head) looked momentarily, in impassive profile and impertinent attitude (he kept raising the heavy metallic venets too high, too athletically high as if trying on purpose to keep it as far as possible from her head), exactly like you, like a pale, ill-shaven twin, delegated by you from wherever you were.’
At a place nicely called Agony, in Terra del Fuego. He felt an uncanny tingle as he recalled that when he received there the invitation to the wedding (airmailed by the groom’s sinister sister) he was haunted for several nights by dream after dream, growing fainter each time (much as her movie he was to pursue from flick-house to flick-house at a later stage of his life) of his holding that crown over her.
‘Your father,’ added Lucette, ‘paid a man from Belladonna to take pictures — but of course, real fame begins only when one’s name appears in that cine-magazine’s crossword puzzle. We all know it will never happen, never! Do you hate me now?’
‘I don’t,’ he said, passing his hand over her sun-hot back and rubbing her coccyx to make pussy purr. ‘Alas, I don’t! I love you with a brother’s love and maybe still more tenderly. Would you like me to order drinks?’
‘I’d like you to go on and on,’ she muttered, her nose buried in the rubber pillow. (3.5)
Darkbloom ('Notes to Ada'): I love you with a brother’s love etc.: see Eugene Onegin, Four: XVI: 3-4.
The Russian name of the butterfly Nymphalis antiopa, traurnitsa comes from traur (mourning) and brings to mind a widow’s weeds (according to Lucette, Ada’s thick white veil was as impervious to light as a widow’s weeds).
Just before Lucette’s suicide, Van and Lucette watch Yuzlik’s movie Don Juan’s Last Fling in the Tobakoff cinema hall:
‘Hey, look!’ he cried, pointing to a poster. ‘They’re showing something called Don Juan’s Last Fling. It’s prerelease and for adults only. Topical Tobakoff!’
‘It’s going to be an unmethylated bore,’ said Lucy (Houssaie School, 1890) but he had already pushed aside the entrance drapery.
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.
He enjoyed her impatience, the fool permitted himself to be stirred by it, the cretin whispered, prolonging the free, new, apricot fire of anticipation:
‘If you’re a good girl we’ll have drinks in my sitting room at midnight.’
The main picture had now started. The three leading parts — cadaverous Don Juan, paunchy Leporello on his donkey, and not too irresistible, obviously forty-year-old Donna Anna — were played by solid stars, whose images passed by in ‘semi-stills,’ or as some say ‘translucencies,’ in a brief introduction. Contrary to expectations, the picture turned out to be quite good.
On the way to the remote castle where the difficult lady, widowed by his sword, has finally promised him a long night of love in her chaste and chilly chamber, the aging libertine nurses his potency by spurning the advances of a succession of robust belles. A gitana predicts to the gloomy cavalier that before reaching the castle he will have succumbed to the wiles of her sister, Dolores, a dancing girl (lifted from Osberg’s novella, as was to be proved in the ensuing lawsuit). She also predicted something to Van, for even before Dolores came out of the circus tent to water Juan’s horse, Van knew who she would be.
In the magic rays of the camera, in the controlled delirium of ballerina grace, ten years of her life had glanced off and she was again that slip of a girl qui n’en porte pas (as he had jested once to annoy her governess by a fictitious Frenchman’s mistranslation): a remembered triviality that intruded upon the chill of his present emotion with the jarring stupidity of an innocent stranger’s asking an absorbed voyeur for directions in a labyrinth of mean lanes.
Lucette recognized Ada three or four seconds later, but then clutched his wrist:
‘Oh, how awful! It was bound to happen. That’s she! Let’s go, please, let’s go. You must not see her debasing herself. She’s terribly made up, every gesture is childish and wrong —’
‘Just another minute,’ said Van.
Terrible? Wrong? She was absolutely perfect, and strange, and poignantly familiar. By some stroke of art, by some enchantment of chance, the few brief scenes she was given formed a perfect compendium of her 1884 and 1888 and 1892 looks.
The gitanilla bends her head over the live table of Leporello’s servile back to trace on a scrap of parchment a rough map of the way to the castle. Her neck shows white through her long black hair separated by the motion of her shoulder. It is no longer another man’s Dolores, but a little girl twisting an aquarelle brush in the paint of Van’s blood, and Donna Anna’s castle is now a bog flower.
The Don rides past three windmills, whirling black against an ominous sunset, and saves her from the miller who accuses her of stealing a fistful of flour and tears her thin dress. Wheezy but still game, Juan carries her across a brook (her bare toe acrobatically tickling his face) and sets her down, top up, on the turf of an olive grove. Now they stand facing each other. She fingers voluptuously the jeweled pommel of his sword, she rubs her firm girl belly against his embroidered tights, and all at once the grimace of a premature spasm writhes across the poor Don’s expressive face. He angrily disentangles himself and staggers back to his steed.
Van, however, did not understand until much later (when he saw — had to see; and then see again and again — the entire film, with its melancholy and grotesque ending in Donna Anna’s castle) that what seemed an incidental embrace constituted the Stone Cuckold’s revenge. In fact, being upset beyond measure, he decided to go even before the olive-grove sequence dissolved. Just then three old ladies with stony faces showed their disapproval of the picture by rising from beyond Lucette (who was slim enough to remain seated) and brushing past Van (who stood up) in three jerky shuffles. Simultaneously he noticed two people, the long-lost Robinsons, who apparently had been separated from Lucette by those three women, and were now moving over to her. Beaming and melting in smiles of benevolence and self-effacement, they sidled up and plumped down next to Lucette, who turned to them with her last, last, last free gift of staunch courtesy that was stronger than failure and death. They were craning already across her, with radiant wrinkles and twittery fingers toward Van when he pounced upon their intrusion to murmur a humorous bad-sailor excuse and leave the cinema hall to its dark lurching. (ibid.)
Darkbloom ('Notes to Ada'): en laid et en lard: in an ugly and fleshy version.
emptovato: Anglo-Russian, rather empty.
slip: Fr., panties.