Before the family dinner in "Ardis the Second" Van Veen (the narrator and main character in VN's novel Ada, 1969) tells Demon (Van's and Ada's father) that he looks satanically fit, especially with that fresh carnation in his lapel eye:
Demon shed his monocle and wiped his eyes with the modish lace-frilled handkerchief that lodged in the heart pocket of his dinner jacket. His tear glands were facile in action when no real sorrow made him control himself.
‘You look quite satanically fit, Dad. Especially with that fresh oeillet in your lapel eye. I suppose you have not been much in Manhattan lately — where did you get its last syllable?’
Homespun pun in the Veenish vein.
‘I offered myself en effet a trip to Akapulkovo,’ answered Demon, needlessly and unwillingly recollecting (with that special concussion of instant detail that also plagued his children) a violet-and-black-striped fish in a bowl, a similarly striped couch, the subtropical sun bringing out the veins of an onyx ashtray on the stone floor, a batch of old, orange-juice-stained Povesa (playboy) magazines, the jewels he had brought, the phonograph singing in a dreamy girl’s voice’ Petit nègre, au champ qui fleuronne,’ and the admirable abdomen of a very expensive, and very faithless and altogether adorable young Créole.
‘Did what’s-her-name go with you?’
‘Well, my boy, frankly, the nomenclature is getting more and more confused every year. Let us speak of plainer things. Where are the drinks? They were promised me by a passing angel.’
(Passing angel?) (1.38)
Darkbloom (‘Notes to Ada’): en effet: indeed.
petit nègre: little Negro in the flowering field.
A passing angel mentioned by Demon is Blanche, a French handmaid at Ardis. Leaving Ardis, Demon throws the flower away, discarding with it the shadow of his fugitive urge to plunge both hands in Blanche' soft bosom:
After a quick cup of coffee and a drop of cherry liqueur Demon got up.
‘Partir c’est mourir un peu, et mourir c’est partir un peu trop. Do tell Dan and Norman I can give them tea-and-cake any time tomorrow at the Bryant. By the way, how’s Lucette?’
Marina knitted her brows and shook her head acting the fond, worried mother though, in point of fact, she bore her daughters even less affection than she had for cute Dack and pathetic Dan.
‘Oh, we had quite a scare,’ she replied finally, ‘quite a nasty scare. But now, apparently —’
‘Van,’ said his father, ‘be a good scout. I did not have a hat but I did have gloves. Ask Bouteillan to look in the gallery, I may have dropped them there. No. Stay! It’s all right. I left them in the car, because I recall the cold of this flower, which I took from a vase in passing...’
He now threw it away, discarding with it the shadow of his fugitive urge to plunge both hands in a soft bosom.
‘I had hoped you’d sleep here,’ said Marina (not really caring one way or another). ‘What is your room number at the hotel — not 222 by any chance?’
She liked romantic coincidences. Demon consulted the tag on his key: 221 — which was good enough, fatidically and anecdotically speaking. Naughty Ada, of course, stole a glance at Van, who tensed up the wings of his nose in a grimace that mimicked the slant of Pedro’s narrow, beautiful nostrils.
‘They make fun of an old woman,’ said Marina, not without coquetry, and in the Russian manner kissed her guest on his inclined brow as he lifted her hand to his lips: ‘You’ll forgive me,’ she added, ‘for not going out on the terrace, I’ve grown allergic to damp and darkness; I’m sure my temperature has already gone up to thirty-seven and seven, at least.’
Demon tapped the barometer next to the door. It had been tapped too often to react in any intelligible way and remained standing at a quarter past three.
Van and Ada saw him off. The night was very warm and dripping with what Ladore farmers called green rain. Demon’s black sedan glinted elegantly among the varnished laurels in the moth-flaked porchlight. He tenderly kissed the children, the girl on one cheek, the boy on the other, then Ada again — in the hollow of the white arm that clasped his neck. Nobody paid much attention to Marina, who waved from a tangelo-colored oriel window a spangled shawl although all she could see was the sheen of the car’s bonnet and the rain slanting in the light of its lamps.
Demon pulled on his gloves and sped away with a great growl of damp gravel. (1.38)
Darkbloom (‘Notes to Ada’): partir etc.: to go away is to die a little, and to die is to go away a little too much.
tangelo: a cross between the tangerine and the pomelo (grapefruit).
221b Baker Street is Sherlock Holmes' address in the Conan Doyle stories. In March 1905 Demon Veen perishes in a mysterious airplane disaster above the Pacific (Van does not realize that his father died because Ada, who could not pardon Demon his forcing Van to give her up, managed to persuade the pilot to destroy his machine in midair). Describing the last occasion on which he saw his father, Van mentions The Waistline, a satire in free verse on Anglo-American feeding habits, and Cardinal Grishkin (an overtly subtle yarn extolling the Roman faith) by Kithar K. L. Sween (a friend of Milton Eliot, the real estate magnate):
The last occasion on which Van had seen his father was at their house in the spring of 1904. Other people had been present: old Eliot, the real-estate man, two lawyers (Grombchevski and Gromwell), Dr Aix, the art expert, Rosalind Knight, Demon’s new secretary, and solemn Kithar Sween, a banker who at sixty-five had become an avant-garde author; in the course of one miraculous year he had produced The Waistline, a satire in free verse on Anglo-American feeding habits, and Cardinal Grishkin, an overtly subtle yarn extolling the Roman faith. The poem was but the twinkle in an owl’s eye; as to the novel it had already been pronounced ‘seminal’ by celebrated young critics (Norman Girsh, Louis Deer, many others) who lauded it in reverential voices pitched so high that an ordinary human ear could not make much of that treble volubility; it seemed, however, all very exciting, and after a great bang of obituary essays in 1910 (‘Kithar Sween: the man and the writer,’ ‘Sween as poet and person,’ ‘Kithar Kirman Lavehr Sween: a tentative biography’) both the satire and the romance were to be forgotten as thoroughly as that acting foreman’s control of background adjustment — or Demon’s edict.
The table talk dealt mainly with business matters. Demon had recently bought a small, perfectly round Pacific island, with a pink house on a green bluff and a sand beach like a frill (as seen from the air), and now wished to sell the precious little palazzo in East Manhattan that Van did not want. Mr Sween, a greedy practitioner with flashy rings on fat fingers, said he might buy it if some of the pictures were thrown in. The deal did not come off. (3.7)
In his poem Whispers of Immortality (1919) T. S. Eliot (the author of The Waste Land, 1922, and Sweeney Agonistes, 1932) metnions Grishkin, a nice Russian girl whose friendly bust gives promise of pneumatic bliss:
Grishkin is nice: her Russian eye
Is underlined for emphasis;
Uncorseted, her friendly bust
Gives promise of pneumatic bliss.
In a letter of July 20 (the birthday of VN's father, Vladimir Dmitrievich Nabokov, 1869-1922), 1958, to Edward Thornton C. G. Jung says that spirit is pneuma which means “moving air:”
Dear Thornton,
The question you ask me is - I am afraid - beyond my competence.
It is a question of fate in which you should not be influenced by any arbitrary outer influence.
As a rule I am all for walking in two worlds at once since we are gifted with two legs, remembering that spirit is pneuma which means “moving air.”
It is a wind that all too easily can lift you up from the solid earth and can carry you away on uncertain waves.
It is good therefore, as a rule, to keep at least one foot upon terra firma.
We are still in the body and thus under the rule of heavy matter.
Also it is equally true that matter not moved by the spirit is dead and empty.
Over against this general truth one has to be flexible enough to admit all sorts of exceptions, as they are the unavoidable accompaniments of all rules.
The spirit is no merit in itself and it has a peculiarly irrealizing effect if not counter-balanced by its material opposite.
Thus think again and if you feel enough solid ground under your feet, follow the call of the spirit.
The element that destroys Demon Veen is air:
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. (3.1)
VN's story Terra Incognita (1931), "walking in two worlds at once" and terra firma in C. G. Jung's letter to Edward Thornton bring to mind Terra and Antiterra (Earth's twin planet also known as Demonia on which Ada is set):
The details of the L disaster (and I do not mean Elevated) in the beau milieu of last century, which had the singular effect of both causing and cursing the notion of ‘Terra,’ are too well-known historically, and too obscene spiritually, to be treated at length in a book addressed to young laymen and lemans — and not to grave men or gravemen.
Of course, today, after great anti-L years of reactionary delusion have gone by (more or less!) and our sleek little machines, Faragod bless them, hum again after a fashion, as they did in the first half of the nineteenth century, the mere geographic aspect of the affair possesses its redeeming comic side, like those patterns of brass marquetry, and bric-à-Braques, and the ormolu horrors that meant ‘art’ to our humorless forefathers. For, indeed, none can deny the presence of something highly ludicrous in the very configurations that were solemnly purported to represent a varicolored map of Terra. Ved’ (‘it is, isn’t it’) sidesplitting to imagine that ‘Russia,’ instead of being a quaint synonym of Estoty, the American province extending from the Arctic no longer vicious Circle to the United States proper, was on Terra the name of a country, transferred as if by some sleight of land across the ha-ha of a doubled ocean to the opposite hemisphere where it sprawled over all of today’s Tartary, from Kurland to the Kuriles! But (even more absurdly), if, in Terrestrial spatial terms, the Amerussia of Abraham Milton was split into its components, with tangible water and ice separating the political, rather than poetical, notions of ‘America’ and ‘Russia,’ a more complicated and even more preposterous discrepancy arose in regard to time — not only because the history of each part of the amalgam did not quite match the history of each counterpart in its discrete condition, but because a gap of up to a hundred years one way or another existed between the two earths; a gap marked by a bizarre confusion of directional signs at the crossroads of passing time with not all the no-longers of one world corresponding to the not-yets of the other. It was owing, among other things, to this ‘scientifically ungraspable’ concourse of divergences that minds bien rangés (not apt to unhobble hobgoblins) rejected Terra as a fad or a fantom, and deranged minds (ready to plunge into any abyss) accepted it in support and token of their own irrationality.
As Van Veen himself was to find out, at the time of his passionate research in terrology (then a branch of psychiatry) even the deepest thinkers, the purest philosophers, Paar of Chose and Zapater of Aardvark, were emotionally divided in their attitude toward the possibility that there existed’ a distortive glass of our distorted glebe’ as a scholar who desires to remain unnamed has put it with such euphonic wit. (Hm! Kveree-kveree, as poor Mlle L. used to say to Gavronsky. In Ada’s hand.)
There were those who maintained that the discrepancies and ‘false overlappings’ between the two worlds were too numerous, and too deeply woven into the skein of successive events, not to taint with trite fancy the theory of essential sameness; and there were those who retorted that the dissimilarities only confirmed the live organic reality pertaining to the other world; that a perfect likeness would rather suggest a specular, and hence speculatory, phenomenon; and that two chess games with identical openings and identical end moves might ramify in an infinite number of variations, on one board and in two brains, at any middle stage of their irrevocably converging development.
The modest narrator has to remind the rereader of all this, because in April (my favorite month), 1869 (by no means a mirabilic year), on St George’s Day (according to Mlle Larivière’s maudlin memoirs) Demon Veen married Aqua Veen — out of spite and pity, a not unusual blend.
Was there some additional spice? Marina, with perverse vainglory, used to affirm in bed that Demon’s senses must have been influenced by a queer sort of ‘incestuous’ (whatever that term means) pleasure (in the sense of the French plaisir, which works up a lot of supplementary spinal vibrato), when he fondled, and savored, and delicately parted and defiled, in unmentionable but fascinating ways, flesh (une chair) that was both that of his wife and that of his mistress, the blended and brightened charms of twin peris, an Aquamarina both single and double, a mirage in an emirate, a germinate gem, an orgy of epithelial alliterations.
Actually, Aqua was less pretty, and far more dotty, than Marina. During her fourteen years of miserable marriage she spent a broken series of steadily increasing sojourns in sanatoriums. A small map of the European part of the British Commonwealth — say, from Scoto-Scandinavia to the Riviera, Altar and Palermontovia — as well as most of the U.S.A., from Estoty and Canady to Argentina, might be quite thickly prickled with enameled red-cross-flag pins, marking, in her War of the Worlds, Aqua’s bivouacs. She had plans at one time to seek a modicum of health (‘just a little grayishness, please, instead of the solid black’) in such Anglo-American protectorates as the Balkans and Indias, and might even have tried the two Southern Continents that thrive under our joint dominion. Of course, Tartary, an independent inferno, which at the time spread from the Baltic and Black seas to the Pacific Ocean, was touristically unavailable, though Yalta and Altyn Tagh sounded strangely attractive... But her real destination was Terra the Fair and thither she trusted she would fly on libellula long wings when she died. Her poor little letters from the homes of madness to her husband were sometimes signed: Madame Shchemyashchikh-Zvukov (‘Heart rending-Sounds’). (1.3)
Darkbloom (‘Notes to Ada’): beau milieu: right in the middle.
Faragod: apparently, the god of electricity.
braques: allusion to a bric-à-brac painter.
Roman numeral L is equal to 50. Chronologically, the Antiterran L disaster in the beau milieu of the 19th century seems to correspond to the mock execution of Dostoevski and the Petrashevskians on Jan. 3, 1850 (NS), in our world. Dostoevski's first novel (written in epistolary form) is Bednye lyudi ("Poor Folk," 1846). In the old Russian alphabet the letter L was called lyudi (in the drafts of Pushkin's Eugene Onegin Tatiana Larin signs her letter to Onegin with her initials T. L.: "Podumala, chto skazhut lyudi, / i podpisala Tvyordo, Lyudi"). Dostoevski is the author of Dvoynik ("The Double," 1846). In Dostoevski's story Son smeshnogo cheloveka ("The Dream of a Ridiculous Man," 1877) the hero in his dream shoots himself in the heart and an angel takes him to a planet that looks exactly like Earth, but Earth before the fall. During Van's first tea party at Ardis Marina (Van's, Ada's and Lucette's mother) mentions Dostoevski:
They now had tea in a prettily furnished corner of the otherwise very austere central hall from which rose the grand staircase. They sat on chairs upholstered in silk around a pretty table. Ada’s black jacket and a pink-yellow-blue nosegay she had composed of anemones, celandines and columbines lay on a stool of oak. The dog got more bits of cake than it did ordinarily. Price, the mournful old footman who brought the cream for the strawberries, resembled Van’s teacher of history, ‘Jeejee’ Jones.
‘He resembles my teacher of history,’ said Van when the man had gone.
‘I used to love history,’ said Marina, ‘I loved to identify myself with famous women. There’s a ladybird on your plate, Ivan. Especially with famous beauties — Lincoln’s second wife or Queen Josephine.’
‘Yes, I’ve noticed — it’s beautifully done. We’ve got a similar set at home.’
‘Slivok (some cream)? I hope you speak Russian?’ Marina asked Van, as she poured him a cup of tea.
‘Neohotno no sovershenno svobodno (reluctantly but quite fluently),’ replied Van, slegka ulïbnuvshis’ (with a slight smile). ‘Yes, lots of cream and three lumps of sugar.’
‘Ada and I share your extravagant tastes. Dostoevski liked it with raspberry syrup.’
‘Pah,’ uttered Ada. (1.5)
Darkbloom ('Notes to Ada'): with a slight smile: a pet formula of Tolstoy’s denoting cool superiority, if not smugness, in a character’s manner of speech.
Raspberry syrup may hint at framboise (Franco-Russ., slightly drunk; see Vyazemski's Old Notebook, 1883, pp. 139-140).