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----- Forwarded message from jansy@aetern.us -----
Date: Sat, 26 Mar 2005 11:05:51 -0000
From: Jansy Berndt de Souza Mello <jansy@aetern.us>
RE: RE: EDITOR's Query: ADA's variety actsDear Don
-----Mensagem Original-----
De: Jansy Berndt de Souza Mello
Para: Vladimir Nabokov Forum
Enviada em: Sábado, 26 de Março de 2005 10:33
Assunto: Re: EDITOR's Query: ADA's variety acts Inversions
Dear AB
You mentioned two things I think need to be researched concerning the matter of
reversals: the butterfly/moth that shows a head at her oposite extreme and
hangs upside down. I learned that it is described by Bobbie Ann Mason in
"Nabokov´s Garden" ( following information by Jacob Wilkenfeld) . Also Scarlet
Pimpernel who is often referred to in Ada ( linked to figures in a cartoon, to a
plant and to the character itself ).
You also asked about a dictionary for terms of the show world. Yesterday I
lived a very Nabokovian reversal which I think you might enjoy. I had been
consulting just one of such glossaries while resting around a pool in one of
Brasília´s Yacht clubs while trying to figure out the differences between
butler, footman and valets.
VN sometimes uses these functions almost interchangeably ( Bouteillan was
Demon´s Valet, Bout was Van´s, Price or Jones were footmen and butlers later,
firemen or policemen). While consulting a Penguin Dictionary of Exotic Words I
called a waiter to order a "Caipirinha". He explained to me that he was not
allowed to serve customers on the sidewalk tables, only those that are sitting
on the grass.
I was almost giving him up when he smiled and said: " I can always tip your
sunshade so that it reaches the grass, then I´ll be able to take your order..."
It was said at the same time that I read the glossary´s entry and realized that
the word butler came from the French " Bouteiller"...
So, VN´s Bouteillan as a bouteiller/butler has a very resounding association to
it, specially because he is always holding a bottle ( even as seen reflected
only in a mirror) but there are still more surprises ahead. The word butler
came into English in relation to a Pharao´s cupbearer. We then can think of
VN´s references to Ganymede and "catamites" and... well...that´s at least where
I stopped to get my own shady-lawn drink.
Now couldn´t mythic Bouteillan be also some kind of representation for Dionysus
or Bacchus????
Greetings from Jansy
-----Mensagem Original-----
De: Donald B. Johnson
Para: NABOKV-L@LISTSERV.UCSB.EDU
Enviada em: Sexta-feira, 25 de Março de 2005 18:04
Assunto: EDITOR's Query: ADA's variety acts Inversions
----- Forwarded message from Andrew.Brown@bbdodetroit.com -----
Date: Fri, 25 Mar 2005 11:56:03 -0500
From: "Brown, Andrew" <Andrew.Brown@bbdodetroit.com>
Reply-To: "Brown, Andrew" <Andrew.Brown@bbdodetroit.com>
Subject: RE: RE: EDITOR's Query: ADA's variety acts
To: Vladimir Nabokov Forum Yes, there must be some theatrical slang or
argot for the type of performer who enters the stage in one guise only to
completely reverse this perception before the grand finale. Is there a
dictionary or glossary of terms from the show world? Henry Mayhew had lists
for
the types of criminals and beggars in 19nth century London. A friend of mine
has
an encyclopedia of underworld argot that records thousands of expressions from
as far back as the 18nth century. I often try to buy this off him when he's
drunk.
I've either seen or read of frail and timid old ladies who sling off their sad
coats to be revealed as young show girls who dance up a storm. There are
precarious drunks who turn out to be expert marksmen, knife throwers,
acrobats,
or equestrians. Moving from variety shows to plays and films, there are
vulnerable, drunk old men who fall victim to gamblers only to turn the tables
and win back everything and more. These types evolve upwards into Zorro, the
Scarlet Pimpernel, various spies, gentleman cat burglars. And these, I think,
evolved or were modernized or pomodernized into the constellation of super
heroes who Clark Kent, or Peter Parker, or Bruce Wayne it by day, and then
strip down into caped crusader togs when the feathers hit the fan. These types
evolve downwards into various psychos and nightmare types descended from the
little old lady AKA wicked stepmother who sold Snow White the apple, all the
way to Tony Perkins, prop. Bates Hotel.
There's something exhilarating about an entity changing into its reverse. It's
an action that releases an explosion of power one way or another. When the
change is from weakness to strength, I think it triggers an unconscious
desire,
or hope, that one day we all may excel ourselves and be revealed as more than
what we are.
But the sudden change of a person one knows and for whom one feels love, such
as
a mother, or one's child, into a diabolical persona, is a universal dread
that's
fueled changeling stories, vampire tales and lycanthropy and zombie legends in
probably every culture in the world.
Probably the example that may have usually been uppermost in VNs mind was
lepedopteral mimesis, where the humblest moths and butterflies could acquire
the most elaborate disguises to survive
AB
> ----------
> From: Vladimir Nabokov Forum on behalf of Donald B. Johnson
> Reply To: Vladimir Nabokov Forum
> Sent: Friday, March 25, 2005 11:15 AM
> To: NABOKV-L@LISTSERV.UCSB.EDU
> Subject: Fwd: RE: EDITOR's Query: ADA's variety acts
>
> <<File: ATT2295935.htm>>
>
>
> ----- Forwarded message from Andrew.Brown@bbdodetroit.com -----
> Date: Thu, 24 Mar 2005 14:07:18 -0500
> From: "Brown, Andrew" <Andrew.Brown@bbdodetroit.com>
>
>
> The entrance of the dark beast, "running strongly" reminded me of the
demonic
> pursuer of Mary Hyde/Mary Lamb, as she dreams it toward the end of Martin
> Amis's novel Other People. The effect of a dancer who is revealed as
standing
> upright when his or her costumed self was upside down is a Central European,
> Asian, probably universal entertainment that has seen service from ancient
> times all the way to vaudeville and beyond. This performance, with its
> surprises, reminded me of the circus Huck Finn sneaks into and is completely
> fooled by the blustering drunk who insists on joining the bareback riders'
> performance, and then rides frantically around the circus ring faster and
> faster, shedding a blizzard of ragged clothes until he stands revealed,
gliding
> along erect with his arms folded, as the star of the show.
>
> A. BROWN
> ----------------------------------------------------
> EDNOTE. Ah, yes. But what are these acts called? There must be a name for
this
> kind of performer.
>
>
>
> > ----------
> > From: Vladimir Nabokov Forum on behalf of D. Barton Johnson
> > Reply To: Vladimir Nabokov Forum>
> > Sent: Thursday, March 24, 2005 1:03 PM
> > To: NABOKV-L@LISTSERV.UCSB.EDU
> > Subject: EDITOR's Query: ADA's variety acts
> >
> >
> > ----- Original Message -----
> > From: D. Barton Johnson
> > Sent: Thursday, March 24, 2005 9:55 AM
> > Subject: circus acts query
> >
> >
> >
> > I have been trying to determine whether the variety acts described below
in
> Nabokov's ADA are based on actual performances or are imaginary. No luck--in
> part because I have no idea of how to approach the question. What such acts
are
> called? Have any of you seen such acts?
> >
> >
> >
> >
>
----------------------------------------------------------------------------------------
> >
> >
> >
> >
> >
> > FROM NABOKOV's NOVEL ADA.
> >
> >
> >
> > The stage would be empty when the curtain went up; then, after five
heartbeats
> of theatrical suspense, something swept out of the wings, enormous and
black,
to
> the accompaniment of dervish drums. The shock of his powerful and
precipitous
> entry affected so deeply the children in the audience that for a long time
> later, in the dark of sobbing insomnias, in the glare of violent nightmares,
> nervous little boys and girls relived, with private accretions, something
> similar to the > '> primordial qualm,> '> a shapeless nastiness, the swoosh
of
> nameless wings, the unendurable dilation of fever which came in a cavern
draft
> from the uncanny stage. Into the harsh light of its gaudily carpeted space a
> masked giant, fully eight feet tall, erupted, running strongly in the kind
of
> soft boots worn by Cossack dancers. A voluminous, black shaggy cloak of the
> burka type enveloped his silhouette inquiétante (according to a female
Sorbonne
> correspondent > -> we> '> ve kept all those cuttings) from neck to knee or
what
> appeared to be those sections of his body. A Karakul cap surmounted his top.
A
> black mask covered the upper part of his heavily bearded face. The
unpleasant
> colossus kept strutting up and down the stage for a while, then the strut
> changed to the restless walk of a caged madman, then he whirled, and to a
clash
> of cymbals in the orchestra and a cry of terror (perhaps faked) in the
gallery,
> Mascodagama turned over in the air and stood on his head.
> >
> > In this weird position, with his cap acting as a pseudopodal pad, he
jumped
up
> and down, pogo-stick fashion > -> and suddenly came apart. Van> '> s face,
> shining with sweat, grinned between the legs of the boots that still shod
his
> rigidly raised arms. Simultaneously his real feet kicked off and away the
false
> head with its crumpled cap and bearded mask. The magical reversal > '> made
the
> house gasp.> '> Frantic (> '> deafening,> '> > '> delirious,> '> > '> a
> veritable tempest of> '> ) applause followed the gasp. He bounded offstage >
->
> and next moment was back, now sheathed in black tights, dancing a jig on
his
> hands. pp. 183-4
> >
> >
> >
> >
>
----------------------------------------------------------------------------------------------------------
> >
> >
> >
> >
> >
> > For the tango, which completed his number on his last tour, he was given
a
> partner, a Crimean cabaret dancer in a very short scintillating frock cut
very
> low on the back. She sang the tango tune in Russian:>
> >
> >
> >
> > Pod znóynïm nébom Argentínï,
> >
> > Pod strástnïy góvor mandolinï
> >
> >
> >
> > '> Neath sultry sky of Argentina,
> >
> > To the hot hum of mandolina
> >
> >
> >
> > Fragile, red-haired > '> Rita> '> (he never learned her real name), a
pretty
> Karaite from Chufut Kale, where, she nostalgically said, the Crimean cornel,
> kizil> '> , bloomed yellow among the arid rocks, bore an odd resemblance to
> Lucette as she was to look ten years later. During their dance, all Van saw
of
> her were her silver slippers turning and marching nimbly in rhythm with the
> soles of his hands. pp. 185
> >
> >
>
>
> This message and any attachments contain information, which may be
confidential>
> or privileged. If you are not the intended recipient, please refrain from
any
> disclosure, copying, distribution or use of this information. Please be
aware
> that such actions are prohibited. If you have received this transmission in
> error, kindly notify us by calling 1-800-262-4723 or e-mail to
> helpdesk@bbdo.com. We appreciate your cooperation.
>
> ----- End forwarded message -----
>
>
----- End forwarded message -----
------------------------------------------------------------------------------
Yes, there must be some theatrical slang or argot for the type of performer
who enters the stage in one guise only to completely reverse this perception
before the grand finale. Is there a dictionary or glossary of terms from the
show world? Henry Mayhew had lists for the types of criminals and beggars in
19nth century London. A friend of mine has an encyclopedia of underworld argot
that records thousands of expressions from as far back as the 18nth century. I
often try to buy this off him when he's drunk.
I've either seen or read of frail and timid old ladies who sling off their sad
coats to be revealed as young show girls who dance up a storm. There are
precarious drunks who turn out to be expert marksmen, knife throwers, acrobats,
or equestrians. Moving from variety shows to plays and films, there are
vulnerable, drunk old men who fall victim to gamblers only to turn the tables
and win back everything and more. These types evolve upwards into Zorro, the
Scarlet Pimpernel, various spies, gentleman cat burglars. And these, I think,
evolved or were modernized or pomodernized into the constellation of super
heroes who Clark Kent, or Peter Parker, or Bruce Wayne it by day, and then
strip down into caped crusader togs when the feathers hit the fan. These types
evolve downwards into various psychos and nightmare types descended from the
little old lady AKA wicked stepmother who sold Snow White the apple, all the
way to Tony Perkins, prop. Bates Hotel.
There's something exhilarating about an entity changing into its reverse. It's
an action that releases an explosion of power one way or another. When the
change is from weakness to strength, I think it triggers an unconscious desire,
or hope, that one day we all may excel ourselves and be revealed as more than
what we are.
But the sudden change of a person one knows and for whom one feels love, such
as a mother, or one's child, into a diabolical persona, is a universal dread
that's fueled changeling stories, vampire tales and lycanthropy and zombie
legends in probably every culture in the world.
Probably the example that may have usually been uppermost in VNs mind was
lepedopteral mimesis, where the humblest moths and butterflies could acquire
the most elaborate disguises to survive
AB
----------
From: Vladimir Nabokov Forum on behalf of Donald B. Johnson
Reply To: Vladimir Nabokov Forum
Sent: Friday, March 25, 2005 11:15 AM
To: NABOKV-L@LISTSERV.UCSB.EDU
Subject: Fwd: RE: EDITOR's Query: ADA's variety acts
<<File: ATT2295935.htm>>
----- Forwarded message from Andrew.Brown@bbdodetroit.com -----
Date: Thu, 24 Mar 2005 14:07:18 -0500
From: "Brown, Andrew" <Andrew.Brown@bbdodetroit.com>
The entrance of the dark beast, "running strongly" reminded me of the
demonic
pursuer of Mary Hyde/Mary Lamb, as she dreams it toward the end of Martin
Amis's novel Other People. The effect of a dancer who is revealed as
standing
upright when his or her costumed self was upside down is a Central European,
Asian, probably universal entertainment that has seen service from ancient
times all the way to vaudeville and beyond. This performance, with its
surprises, reminded me of the circus Huck Finn sneaks into and is completely
fooled by the blustering drunk who insists on joining the bareback riders'
performance, and then rides frantically around the circus ring faster and
faster, shedding a blizzard of ragged clothes until he stands revealed,
gliding
along erect with his arms folded, as the star of the show.
A. BROWN
----------------------------------------------------
EDNOTE. Ah, yes. But what are these acts called? There must be a name for
this
kind of performer.
> ----------
> From: Vladimir Nabokov Forum on behalf of D. Barton Johnson
> Reply To: Vladimir Nabokov Forum
> Sent: Thursday, March 24, 2005 1:03 PM
> To: NABOKV-L@LISTSERV.UCSB.EDU
> Subject: EDITOR's Query: ADA's variety acts
>
>
> ----- Original Message -----
> From: D. Barton Johnson
> Sent: Thursday, March 24, 2005 9:55 AM
> Subject: circus acts query
>
>
>
> I have been trying to determine whether the variety acts described below
in
Nabokov's ADA are based on actual performances or are imaginary. No luck--in
part because I have no idea of how to approach the question. What such acts
are
called? Have any of you seen such acts?
>
>
>
>
----------------------------------------------------------------------------------------
>
>
>
>
>
> FROM NABOKOV's NOVEL ADA.
>
>
>
> The stage would be empty when the curtain went up; then, after five
heartbeats
of theatrical suspense, something swept out of the wings, enormous and
black, to
the accompaniment of dervish drums. The shock of his powerful and
precipitous
entry affected so deeply the children in the audience that for a long time
later, in the dark of sobbing insomnias, in the glare of violent nightmares,
nervous little boys and girls relived, with private accretions, something
similar to the > '> primordial qualm,> '> a shapeless nastiness, the swoosh
of
nameless wings, the unendurable dilation of fever which came in a cavern
draft
from the uncanny stage. Into the harsh light of its gaudily carpeted space a
masked giant, fully eight feet tall, erupted, running strongly in the kind
of
soft boots worn by Cossack dancers. A voluminous, black shaggy cloak of the
burka type enveloped his silhouette inquiétante (according to a female
Sorbonne
correspondent > -> we> '> ve kept all those cuttings) from neck to knee or
what
appeared to be those sections of his body. A Karakul cap surmounted his top.
A
black mask covered the upper part of his heavily bearded face. The
unpleasant
colossus kept strutting up and down the stage for a while, then the strut
changed to the restless walk of a caged madman, then he whirled, and to a
clash
of cymbals in the orchestra and a cry of terror (perhaps faked) in the
gallery,
Mascodagama turned over in the air and stood on his head.
>
> In this weird position, with his cap acting as a pseudopodal pad, he
jumped up
and down, pogo-stick fashion > -> and suddenly came apart. Van> '> s face,
shining with sweat, grinned between the legs of the boots that still shod
his
rigidly raised arms. Simultaneously his real feet kicked off and away the
false
head with its crumpled cap and bearded mask. The magical reversal > '> made
the
house gasp.> '> Frantic (> '> deafening,> '> > '> delirious,> '> > '> a
veritable tempest of> '> ) applause followed the gasp. He bounded offstage >
->
and next moment was back, now sheathed in black tights, dancing a jig on
his
hands. pp. 183-4
>
>
>
>
----------------------------------------------------------------------------------------------------------
>
>
>
>
>
> For the tango, which completed his number on his last tour, he was given
a
partner, a Crimean cabaret dancer in a very short scintillating frock cut
very
low on the back. She sang the tango tune in Russian:>
>
>
>
> Pod znóynïm nébom Argentínï,
>
> Pod strástnïy góvor mandolinï
>
>
>
> '> Neath sultry sky of Argentina,
>
> To the hot hum of mandolina
>
>
>
> Fragile, red-haired > '> Rita> '> (he never learned her real name), a
pretty
Karaite from Chufut Kale, where, she nostalgically said, the Crimean cornel,
kizil> '> , bloomed yellow among the arid rocks, bore an odd resemblance to
Lucette as she was to look ten years later. During their dance, all Van saw
of
her were her silver slippers turning and marching nimbly in rhythm with the
soles of his hands. pp. 185
>
>
This message and any attachments contain information, which may be
confidential
or privileged. If you are not the intended recipient, please refrain from
any
disclosure, copying, distribution or use of this information. Please be
aware
that such actions are prohibited. If you have received this transmission in
error, kindly notify us by calling 1-800-262-4723 or e-mail to
helpdesk@bbdo.com. We appreciate your cooperation.
----- End forwarded message -----
----- End forwarded message -----