In VN’s novel Ada (1969) two gypsy courtesans predict to Van that he will never have children:
What laughs, what tears, what sticky kisses, what a tumult of multitudinous plans! And what safety, what freedom of love! Two unrelated gypsy courtesans, a wild girl in a gaudy lolita, poppy-mouthed and black-downed, picked up in a café between Grasse and Nice, and another, a part-time model (you have seen her fondling a virile lipstick in Fellata ads), aptly nicknamed Swallowtail by the patrons of a Norfolk Broads floramor, had both given our hero exactly the same reason, unmentionable in a family chronicle, for considering him absolutely sterile despite his prowesses. Amused by the Hecatean diagnose, Van underwent certain tests, and although pooh-poohing the symptom as coincidental, all the doctors agreed that Van Veen might be a doughty and durable lover but could never hope for an offspring. How merrily little Ada clapped her hands! (2.6)
The goddess of witchcraft, Hecate appears in Shakespeare’s Macbeth (Act III, scene 5) and says:
He [Macbeth] shall spurn fate, scorn death, and bear
His hopes 'bove wisdom, grace and fear:
And you all know, security
Is mortals' chiefest enemy.
After prophesying that Macbeth will become king, the three witches tell Banquo that he will not be king himself, but that his descendants will be. In Canto the Tenth (XVIII) of Don Juan Byron mentions Banquo's offspring:
As "Auld Lang Syne" brings Scotland, one and all,
Scotch plaids, Scotch snoods, the blue hills, and clear streams,
The Dee -- the Don -- Balgounie's brig's black wall,
All my boy feelings, all my gentler dreams
Of what I then dreamt, clothed in their own pall,
Like Banquo's offspring; -- floating past me seems
My childhood in this childishness of mine:
I care not -- 'tis a glimpse of "Auld Lang Syne."
“Scotch plaids” bring to mind Van’s tartan lap robe in which he drapes himself in the Night of the Burning Barn (when Van and Ada make love for the first time):
That night because of the bothersome blink of remote sheet lightning through the black hearts of his sleeping-arbor, Van had abandoned his two tulip trees and gone to bed in his room. The tumult in the house and the maid’s shriek interrupted a rare, brilliant, dramatic dream, whose subject he was unable to recollect later, although he still held it in a saved jewel box. As usual, he slept naked, and wavered now between pulling on a pair of shorts, or draping himself in his tartan lap robe. He chose the second course, rattled a matchbox, lit his bedside candle, and swept out of his room, ready to save Ada and all her larvae. The corridor was dark, somewhere the dachshund was barking ecstatically. Van gleaned from subsiding cries that the so-called ‘baronial barn,’ a huge beloved structure three miles away, was on fire. Fifty cows would have been without hay and Larivière without her midday coffee cream had it happened later in the season. Van felt slighted. They’ve all gone and left me behind, as old Fierce mumbles at the end of the Cherry Orchard (Marina was an adequate Mme Ranevski).
With the tartan toga around him, he accompanied his black double down the accessory spiral stairs leading to the library. Placing a bare knee on the shaggy divan under the window, Van drew back the heavy red curtains. (1.19)
After joining Van on the divan, Ada mentions gypsies:
‘Can one see anything, oh, can one see?’ the dark-haired child kept repeating, and a hundred barns blazed in her amber-black eyes, as she beamed and peered in blissful curiosity. He relieved her of her candlestick, placing it near his own longer one on the window ledge. ‘You are naked, you are dreadfully indecent,’ she observed without looking and without any emphasis or reproof, whereupon he cloaked himself tighter, Ramses the Scotsman, as she knelt beside him. For a moment they both contemplated the romantic night piece framed in the window. He had started to stroke her, shivering, staring ahead, following with a blind man’s hand the dip of her spine through the batiste.
‘Look, gypsies,’ she whispered, pointing at three shadowy forms — two men, one with a ladder, and a child or dwarf — circumspectly moving across the gray lawn. They saw the candlelit window and decamped, the smaller one walking à reculons as if taking pictures. (ibid.)
A child or dwarf walking à reculons as if taking pictures is Kim Beauharnais (the kitchen boy and photographer at Ardis whom Ada has bribed to set the barn on fire). When Kim visits Ada at Ardis and offers her to buy his album, he speaks a thick Creole:
During her dreary stay at Ardis, a considerably changed and enlarged Kim Beauharnais called upon her. He carried under his arm an album bound in orange-brown cloth, a dirty hue she had hated all her life. In the last two or three years she had not seen him, the light-footed, lean lad with the sallow complexion had become a dusky colossus, vaguely resembling a janizary in some exotic opera, stomping in to announce an invasion or an execution. Uncle Dan, who just then was being wheeled out by his handsome and haughty nurse into the garden where coppery and blood-red leaves were falling, clamored to be given the big book, but Kim said ‘Perhaps later,’ and joined Ada in the reception corner of the hall.
He had brought her a present, a collection of photographs he had taken in the good old days. He had been hoping the good old days would resume their course, but since he understood that mossio votre cossin (he spoke a thick Creole thinking that its use in solemn circumstances would be more proper than his everyday Ladore English) was not expected to revisit the castle soon — and thus help bring the album up to date — the best procedure pour tous les cernés (‘the shadowed ones,’ the ‘encircled’ rather than ‘concerned’) might be for her to keep (or destroy and forget, so as not to hurt anybody) the illustrated document now in her pretty hands. Wincing angrily at the jolies, Ada opened the album at one of its maroon markers meaningly inserted here and there, glanced once, reclicked the clasp, handed the grinning blackmailer a thousand-dollar note that she happened to have in her bag, summoned Bouteillan and told him to throw Kim out. The mud-colored scrapbook remained on a chair, under her Spanish shawl. With a shuffling kick the old retainer expelled a swamp-tulip leaf swept in by the draft and closed the front door again. (2.8)
In "Жозефина Богарнэ и её гадалка" (Josephine Beauharnais and her Fortune-Teller, 1936) Mark Aldanov points out that Josephine Beauharnais (known on Antiterra as "Queen Josephine," 1.5) was a helpless Creole (born in Martinique) who had the traits of a Russian or Polish lady:
Но у этой беспомощной креолки были черты русской или польской барыни.
Napoleon (who, like Maupassant, did not exist on Antiterra) divorced Josephine and married Marie Louise of Austria, because Josephine had failed to bear him a heir.
À une Dame créole (“To a Creole Lady”) is a sonnet by Baudelaire, the author of Don Juan aux enfers (“Don Juan in Hades”). At the end of his sonnet Bohémiens en voyage (“Traveling Gypsies”) Baudelaire mentions the familiar domain of the future's darkness opened wide before the gypsies.
Describing the Night of the Burning Barn (and elsewhere), Van and Ada quote Baudelaire’s poem L'invitation au voyage (“Invitation to the Voyage”):
(I wonder, Van, why you are doing your best to transform our poetical and unique past into a dirty farce? Honestly, Van! Oh, I am honest, that’s how it went. I wasn’t sure of my ground, hence the sauciness and the simper. Ah, parlez pour vous: I, dear, can affirm that those famous fingertrips up your Africa and to the edge of the world came considerably later when I knew the itinerary by heart. Sorry, no — if people remembered the same they would not be different people. That’s-how-it-went. But we are not ‘different’! Think and dream are the same in French. Think of the douceur, Van! Oh, I am thinking of it, of course, I am — it was all douceur, my child, my rhyme. That’s better, said Ada.) (1.19)
Van blinds Kim Beauharnais for spying on him and Ada and attempting to blackmail Ada:
‘I would have killed myself too, had I found Rose wailing over your corpse. "Secondes pensées sont les bonnes," as your other, white, bonne used to say in her pretty patois. As to the apron, you are quite right. And what you did not make out was that the artist had about finished a large picture of your meek little palazzo standing between its two giant guards. Perhaps for the cover of a magazine, which rejected that picture. But, you know, there’s one thing I regret,’ she added: ‘Your use of an alpenstock to release a brute’s fury — not yours, not my Van’s. I should never have told you about the Ladore policeman. You should never have taken him into your confidence, never connived with him to burn those files — and most of Kalugano’s pine forest. Eto unizitel’no (it is humiliating).’
‘Amends have been made,’ replied fat Van with a fat man’s chuckle. ‘I’m keeping Kim safe and snug in a nice Home for Disabled Professional People, where he gets from me loads of nicely brailled books on new processes in chromophotography.’ (2.11)
Les Aveugles (“The Blind”) is a sonnet by Baudelaire:
Contemple-les, mon âme; ils sont vraiment affreux!
Pareils aux mannequins; vaguement ridicules;
Terribles, singuliers comme les somnambules;
Dardant on ne sait où leurs globes ténébreux.
Leurs yeux, d'où la divine étincelle est partie,
Comme s'ils regardaient au loin, restent levés
Au ciel; on ne les voit jamais vers les pavés
Pencher rêveusement leur tête appesantie.
Ils traversent ainsi le noir illimité,
Ce frère du silence éternel. Ô cité!
Pendant qu'autour de nous tu chantes, ris et beugles,
Eprise du plaisir jusqu'à l'atrocité,
Vois! je me traîne aussi! mais, plus qu'eux hébété,
Je dis: Que cherchent-ils au Ciel, tous ces aveugles?
Contemplate them, my soul; they are truly frightful!
Like mannequins; vaguely ridiculous;
Strange and terrible, like somnambulists;
Darting, one never knows where, their tenebrous orbs.
Their eyes, from which the divine spark has departed,
Remain raised to the sky, as if they were looking
Into space: one never sees them toward the pavement
Dreamily bend their heavy heads.
Thus they go across the boundless darkness,
That brother of eternal silence. O city!
While about us you sing, laugh, and bellow,
In love with pleasure to the point of cruelty,
See! I drag along also! but, more dazed than they,
I say: "What do they seek in Heaven, all those blind?"
(tr. W. Aggeler)
When Ada tells Van that Trofim Fartukov (the Russian coachman in "Ardis the Second") and Blanche (a French maid at Ardis) have a blind child, Van remarks that love is blind (2.7). In a letter to Van Ada says that Blanche and her two sisters are witches:
Mere pity, a Russian girl’s zhalost’, drew me to R. (whom musical critics have now ‘discovered’). He knew he would die young and was always, in fact, mostly corpse, never once, I swear, rising to the occasion, even when I showed openly my compassionate non-resistance because I, alas, was brimming with Van-less vitality, and had even considered buying the services of some rude, the ruder the better, young muzhik. As to P., I could explain my submitting to his kisses (first tender and plain, later growing fiercely expert, and finally tasting of me when he returned to my mouth — a vicious circle set spinning in early Thargelion, 1888) by saying that if I stopped seeing him he would divulge my affair with my cousin to my mother. He did say he could produce witnesses, such as the sister of your Blanche, and a stable boy who, I suspect, was impersonated by the youngest of the three demoiselles de Tourbe, witches all — but enough. (2.1)
In her old age Ada translates Baudelaire into English and Russian:
Ada, who amused herself by translating (for the Oranger editions en regard) Griboyedov into French and English, Baudelaire into English and Russian, and John Shade into Russian and French, often read to Van, in a deep mediumesque voice, the published versions made by other workers in that field of semiconsciousness. The verse translations in English were especially liable to distend Van’s face in a grotesque grin which made him look, when he was not wearing his dental plates, exactly like a Greek comedial mask. He could not tell who disgusted him more: the well-meaning mediocrity, whose attempts at fidelity were thwarted by lack of artistic insight as well as by hilarious errors of textual interpretation, or the professional poet who embellished with his own inventions the dead and helpless author (whiskers here, private parts there) — a method that nicely camouflaged the paraphrast’s ignorance of the From language by having the bloomers of inept scholarship blend with the whims of flowery imitation. (5.4)
Van never realizes that Andrey Vinelander (Ada's husband) and Ada have at least two children and that Ronald Oranger (old Van's secretary, the editor of Ada) and Violet Knox (old Van's typist whom Ada calls Fialochka and who marries Ronald Oranger after Van's and Ada's death) are Ada's grandchildren.