Describing the method of his work, Van Veen (the narrator and main character in VN’s novel Ada, 1969) mentions a concession to some farcical 'influence of environment' endorsed by Marx père, the popular author of 'historical' plays:
Van Veen [as also, in his small way, the editor of Ada] liked to change his abode at the end of a section or chapter or even paragraph, and he had almost finished a difficult bit dealing with the divorce between time and the contents of time (such as action on matter, in space, and the nature of space itself) and was contemplating moving to Manhattan (that kind of switch being a reflection of mental rubrication rather than a concession to some farcical 'influence of environment' endorsed by Marx père, the popular author of 'historical' plays), when he received an unexpected dorophone call which for a moment affected violently his entire pulmonary and systemic circulation. (2.5)
In his Vzglyad na russkuyu literaturu 1847 goda (“A Look at the Russian Literature of the Year 1847”) Vissarion Belinski discusses Goncharov’s novel Obyknovennaya istoriya (“A Common Story,” 1847) and says that the immediate influence of environment on a man is so strong that the best provincials are not free from provincial prejudices and get frustrated at first when they come to the capital:
Непосредственное влияние окружающей человека среды так на него сильно, что лучшие из провинциалов бывают не чужды провинциальных предрассудков и на первый раз теряются, приехавши в столицу.
The surname of the main characters in Goncharov’s novel, Alexander Aduev and his uncle Pyotr Aduev, brings to mind Ada. Describing the morning after the Night of the Burning Barn (when he and Ada make love for the first time), Van compares himself to a provincial come an hour too early to the opera after jogging all day along harvest roads with poppies and bluets catching and twinkle-twining in the wheels of his buggy:
Van reached the third lawn, and the bower, and carefully inspected the stage prepared for the scene, ‘like a provincial come an hour too early to the opera after jogging all day along harvest roads with poppies and bluets catching and twinkle-twining in the wheels of his buggy’ (Floeberg’s Ursula).
Blue butterflies nearly the size of Small Whites, and likewise of European origin, were flitting swiftly around the shrubs and settling on the drooping clusters of yellow flowers. In less complex circumstances, forty years hence, our lovers were to see again, with wonder and joy, the same insect and the same bladder-senna along a forest trail near Susten in the Valais. At the present moment he was looking forward to collecting what he would recollect later, and watched the big bold Blues as he sprawled on the turf, burning with the evoked vision of Ada’s pale limbs in the variegated light of the bower, and then coldly telling himself that fact could never quite match fancy. When he returned from a swim in the broad and deep brook beyond the bosquet, with wet hair and tingling skin, Van got the rare treat of finding his foreglimpse of live ivory accurately reproduced, except that she had loosened her hair and changed into the curtal frock of sunbright cotton that he was so fond of and had so ardently yearned to soil in the so recent past.
He had resolved to deal first of all with her legs which he felt he had not feted enough the previous night; to sheathe them in kisses from the A of arched instep to the V of velvet; and this Van accomplished as soon as Ada and he got sufficiently deep in the larchwood which closed the park on the steep side of the rocky rise between Ardis and Ladore.
Neither could establish in retrospect, nor, indeed, persisted in trying to do so, how, when and where he actually ‘de-flowered’ her — a vulgarism Ada in Wonderland had happened to find glossed in Phrody’s Encyclopedia as ‘to break a virgin’s vaginal membrane by manly or mechanical means,’ with the example: ‘The sweetness of his soul was deflowered (Jeremy Taylor).’ Was it that night on the lap robe? Or that day in the larchwood? Or later in the shooting gallery, or in the attic, or on the roof, or on a secluded balcony, or in the bathroom, or (not very comfortably) on the Magic Carpet? We do not know and do not care.
(You kissed and nibbled, and poked, and prodded, and worried me there so much and so often that my virginity was lost in the shuffle; but I do recall definitely that by midsummer the machine which our forefathers called’ sex’ was working as smoothly as later, in 1888, etc., darling. Marginal note in red ink.) (1.20)
Darkbloom ('Notes to Ada'): Floeberg: Flaubert’s style is mimicked in this pseudo quotation.
Floeberg’s Ursula corresponds to Flaubert’s novel Madame Bovary (1857). Marx’s daughter Eleanor Aveling (who committed suicide because of her husband’s infidelity) was the first English translator of Flaubert’s novel.
Describing the Night of the Burning Barn, Van compares himself to Romeo and Ada, to Juliet:
But the shag of the couch was as tickly as the star-dusted sky. Before anything new happened, Ada went on all fours to rearrange the lap robe and cushions. Native girl imitating rabbit. He groped for and cupped her hot little slew from behind, then frantically scrambled into a boy’s sandcastle-molding position; but she turned over, naïvely ready to embrace him the way Juliet is recommended to receive her Romeo. She was right. For the first time in their love story, the blessing, the genius of lyrical speech descended upon the rough lad, he murmured and moaned, kissing her face with voluble tenderness, crying out in three languages — the three greatest in all the world — pet words upon which a dictionary of secret diminutives was to be based and go through many revisions till the definitive edition of 1967. When he grew too loud, she shushed, shushingly breathing into his mouth, and now her four limbs were frankly around him as if she had been love-making for years in all our dreams — but impatient young passion (brimming like Van’s overflowing bath while he is reworking this, a crotchety gray old wordman on the edge of a hotel bed) did not survive the first few blind thrusts; it burst at the lip of the orchid, and a bluebird uttered a warning warble, and the lights were now stealing back under a rugged dawn, the firefly signals were circumscribing the reservoir, the dots of the carriage lamps became stars, wheels rasped on the gravel, all the dogs returned well pleased with the night treat, the cook’s niece Blanche jumped out of a pumpkin-hued police van in her stockinged feet (long, long after midnight, alas) — and our two naked children, grabbing lap robe and nightdress, and giving the couch a parting pat, pattered back with their candlesticks to their innocent bedrooms. (1.19)
The popular author of 'historical' plays, Marx père also seems to hint at Shaxpere (as Shakespeare’s name is sometimes spelled), the author of history plays. Romeo and Juliet is a play by Shakespeare and a ballet (1935) by Sergey Prokofiev. In his Cantata for the 20th Anniversary of the October Revolution, Op. 74 (1937), Prokofiev used Marx’s Eleventh Thesis on Feuerbach: "Philosophers have hitherto only interpreted the world in various ways; the point is to change it." Marx has eleven theses on Feuerbach (the thesis quoted above is the last one). There are in Ada eleven main characters:
1 Van Veen
2 Ada Veen
3 Lucette Veen
4 Demon Veen
5 Marina Durmanov
6 Aqua Durmanov
7 Daniel Veen (Uncle Dan)
8 Andrey Vinelander (Ada’s husband)
9 Dorothy Vinelander (Ada’s sister-in-law)
10 Ronald Oranger (Ada’s grandson, the editor of Ada)
11 Violet Knox (Ada’s granddaughter who marries Ronald Oranger after Van’s and Ada’s death)
Because love is blind, Van does not suspect that he was not Ada’s first lover, and he never finds out that Ronald Oranger and Violet Knox are Ada’s grandchildren.
According to Ada, her teacher at the Drama School thinks that she is better in farces than in tragedy:
They sat, facing each other, at a breakfast table, munching black bread with fresh butter, and Virginia ham, and slices of genuine Emmenthaler cheese — and here’s a pot of transparent honey: two cheerful cousins, ‘raiding the icebox’ as children in old fairy tales, and the thrushes were sweetly whistling in the bright-green garden as the dark-green shadows drew in their claws.
‘My teacher,’ she said, ‘at the Drama School thinks I’m better in farces than in tragedy. If they only knew!’
‘There is nothing to know,’ retorted Van. ‘Nothing, nothing has changed! But that’s the general impression, it was too dim down there for details, we’ll examine them tomorrow on our little island: "My sister, do you still recall..."’
‘Oh shut up!’ said Ada. ‘I’ve given up all that stuff — petits vers, vers de soie...’
‘Come, come,’ cried Van, ‘some of the rhymes were magnificent arcrobatics on the part of the child’s mind: "Oh! qui me rendra, ma Lucile, et le grand chêne and zee big hill." Little Lucile,’ he added in an effort to dissipate her frowns with a joke, ‘little Lucile has become so peachy that I think I’ll switch over to her if you keep losing your temper like that. I remember the first time you got cross with me was when I chucked a stone at a statue and frightened a finch. That’s memory!’
She was on bad terms with memory. She thought the servants would be up soon now, and then one could have something hot. That fridge was all fudge, really.
‘Why, suddenly sad?’
Yes, she was sad, she replied, she was in dreadful trouble, her quandary might drive her insane if she did not know that her heart was pure. She could explain it best by a parable. She was like the girl in a film he would see soon, who is in the triple throes of a tragedy which she must conceal lest she lose her only true love, the head of the arrow, the point of the pain. In secret, she is simultaneously struggling with three torments — trying to get rid of a dreary dragging affair with a married man, whom she pities; trying to nip in the bud — in the sticky red bud — a crazy adventure with an attractive young fool, whom she pities even more; and trying to keep intact the love of the only man who is all her life and who is above pity, above the poverty of her feminine pity, because as the script says, his ego is richer and prouder than anything those two poor worms could imagine.
What had she actually done with the poor worms, after Krolik’s untimely end?
‘Oh, set them free’ (big vague gesture), ‘turned them out, put them back onto suitable plants, buried them in the pupal state, told them to run along, while the birds were not looking — or alas, feigning not to be looking.
‘Well, to mop up that parable, because you have the knack of interrupting and diverting my thoughts, I’m in a sense also torn between three private tortures, the main torture being ambition, of course. I know I shall never be a biologist, my passion for creeping creatures is great, but not all-consuming. I know I shall always adore orchids and mushrooms and violets, and you will still see me going out alone, to wander alone in the woods and return alone with a little lone lily; but flowers, no matter how irresistible, must be given up, too, as soon as I have the strength. Remains the great ambition and the greatest terror: the dream of the bluest, remotest, hardest dramatic climbs — probably ending as one of a hundred old spider spinsters, teaching drama students, knowing, that, as you insist, sinister insister, we can’t marry, and having always before me the awful example of pathetic, second-rate, brave Marina.’
‘Well, that bit about spinsters is rot,’ said Van, ‘we’ll pull it off somehow, we’ll become more and more distant relations in artistically forged papers and finally dwindle to mere namesakes, or at the worst we shall live quietly, you as my housekeeper, I as your epileptic, and then, as in your Chekhov, "we shall see the whole sky swarm with diamonds."’
‘Did you find them all, Uncle Van?’ she inquired, sighing, laying her dolent head on his shoulder. She had told him everything.
‘More or less,’ he replied, not realizing she had. ‘Anyway, I made the best study of the dustiest floor ever accomplished by a romantic character. One bright little bugger rolled under the bed where there grows a virgin forest of fluff and fungi. I’ll have them reassembled in Ladore when I motor there one of these days. I have lots of things to buy — a gorgeous bathrobe in honor of your new swimming pool, a cream called Chrysanthemum, a brace of dueling pistols, a folding beach mattress, preferably black — to bring you out not on the beach but on that bench, and on our isle de Ladore.’
‘Except,’ she said, ‘that I do not approve of your making a laughingstock of yourself by looking for pistols in souvenir shops, especially when Ardis Hall is full of old shotguns and rifles, and revolvers, and bows and arrows — you remember, we had lots of practice with them when you and I were children.’
Oh, he did, he did. Children, yes. In point of fact, how puzzling to keep seeing that recent past in nursery terms. Because nothing had changed — you are with me, aren’t you? — nothing, not counting little improvements in the grounds and the governess. (1.31)
Darkbloom ('Notes to Ada'): petits vers etc.: fugitive poetry and silk worms.
Uncle Van: allusion to a line in Chekhov’s play Uncle Vanya: We shall see the sky swarming with diamonds.
Ada's first lover was Dr Krolik's brother Karol, or Karapars, Krolik, a doctor of philosophy, born in Turkey. There is his photograph in Kim Beauharnais's album:
‘Well,’ said Van, when the mind took over again, ‘let’s go back to our defaced childhood. I’m anxious’ — (picking up the album from the bedside rug) — ‘to get rid of this burden. Ah, a new character, the inscription says: Dr Krolik.’
‘Wait a sec. It may be the best Vanishing Van but it’s terribly messy all the same. Okay. Yes, that’s my poor nature teacher.’
Knickerbockered, panama-hatted, lusting for his babochka (Russian for ‘lepidopteron’). A passion, a sickness. What could Diana know about that chase?
‘How curious — in the state Kim mounted him here, he looks much less furry and fat than I imagined. In fact, darling, he’s a big, strong, handsome old March Hare! Explain!’
‘There’s nothing to explain. I asked Kim one day to help me carry some boxes there and back, and here’s the visual proof. Besides, that’s not my Krolik but his brother, Karol, or Karapars, Krolik. A doctor of philosophy, born in Turkey.’
‘I love the way your eyes narrow when you tell a lie. The remote mirage in Effrontery Minor.’
‘I’m not lying!’ — (with lovely dignity): ‘He is a doctor of philosophy.’
‘Van ist auch one,’ murmured Van, sounding the last word as ‘wann.’ (2.7)
Darkbloom ('Notes to Ada'): vanishing etc.: allusion to ‘vanishing cream’.
auch: Germ., also.
Wann is German for "when."