Describing his first summer with Ada at Ardis, Van Veen (the narrator and main character in VN’s novel Ada, 1969) compares Lucette (Van's and Ada's half-sister) to the girl in Ah, cette Line (a popular novel):
Now what about 1881, when the girls, aged eight-nine and five, respectively, had been taken to the Riviera, to Switzerland, to the Italian lakes, with Marina’s friend, the theatrical big shot, Gran D. du Mont (the ‘D’ also stood for Duke, his mother’s maiden name, des hobereaux irlandais, quoi), traveling discreetly on the next Mediterranean Express or next Simplon or next Orient, or whatever other train de luxe carried the three Veens, an English governess, a Russian nurse and two maids, while a semi-divorced Dan went to some place in equatorial Africa to photograph tigers (which he was surprised not to see) and other notorious wild animals, trained to cross the motorist’s path, as well as some plump black girls in a traveling-agent’s gracious home in the wilds of Mozambique. She could recollect, of course, when she and her sister played ‘note-comparing,’ much better than Lucette such things as itineraries, spectacular flora, fashions, the covered galleries with all sorts of shops, a handsome suntanned man with a black mustache who kept staring at her from his corner in the restaurant of Geneva’s Manhattan Palace; but Lucette, though so much younger, remembered heaps of bagatelles, little ‘turrets’ and little ‘barrels,’ biryul’ki proshlago. She was, cette Lucette, like the girl in Ah, cette Line (a popular novel), ‘a macédoine of intuition, stupidity, naïveté and cunning.’ By the way, she had confessed, Ada had made her confess, that it was, as Van had suspected, the other way round — that when they returned to the damsel in distress, she was in all haste, not freeing herself, but actually trying to tie herself up again after breaking loose and spying on them through the larches. ‘Good Lord,’ said Van, ‘that explains the angle of the soap!’ Oh, what did it matter, who cared, Ada only hoped the poor little thing would be as happy at Ada’s age as Ada was now, my love, my love, my love, my love. Van hoped the bicycles parked in the bushes did not show their sparkling metal through the leaves to some passenger on the forest road. (1.24)
Darkbloom (‘Notes to Ada’): hobereaux: country squires.
biryul’ki proshlago: Russ., the Past’s baubles.
Ah, cette Line hints at acetylene (a colourless flammable gas used in the acetylene, or 'carbide,' lamps). In his memoir essay Such, Such Were The Joys (1947) George Orwell (an English writer, 1903-50) describes his boarding school and mentions a car's acetylene lamps:
At St Cyprian's, in term-time, the general bareness of life enforced a certain democracy, but any mention of the holidays, and the consequent competitive swanking about cars and butlers and country housed, promptly called class distinctions into being. The school was pervaded by a curious cult of Scotland, which brought out the fundamental contradiction in our standard of values. Flip claimed Scottish ancestry, and she favoured the Scottish boys, encouraging them to wear kilts in their ancestral tartan instead of the school uniform, and even christened her youngest child by a Gaelic name. Ostensibly we were supposed to admire the Scots because they were ‘grim’ and ‘dour’ (‘stern’ was perhaps the key word), and irresistible on the field of battle. In the big schoolroom there was a steel engraving of the charge to the Scots Greys at Waterloo, all looking as though they enjoyed every moment of it. Our picture of Scotland was made up of burns, braes, kilts, sporrans, claymores, bagpipes and the like, all somehow mixed up with the invigorating effects of porridge, Protestantism and a cold climate. But underlying this was something quite different. The real reason for the cult of Scotland was that only very rich people could spend their summers there. And the pretended belief in Scottish superiority was a cover for the bad conscience of the occupying English, who had pushed the Highland peasantry off their farms to make way for the deer forests, and then compensated them by turning them into servants. Flip's face always beamed with innocent snobbishness when she spoke of Scotland. Occasionally she even attempted a trace of Scottish accent. Scotland was a private paradise which a few initiates could talk about and make outsiders feel small.
‘You going to Scotland this hols?’
‘Rather! We go every year.’
‘My pater's got three miles of river.’
‘My pater's giving me a new gun for the twelfth. There's jolly good black game where we go. Get out, Smith! What are listening for? You've never been to Scotland. I bet you don't know what a blackcock looks like.’
Following on this, imitations of the cry of a blackcock, of the roaring of a stag, of the accent of ‘our ghillies’, etc. etc.
And the questionings that new boys of doubtful social origin were sometimes put through — questionings quite surprising in their mean-minded particularity, when one reflects that the inquisitors were only twelve or thirteen!
‘How much a year has your pater got? What part of London do you live in? Is that Knightsbridge or Kensington? How many bathrooms has you house got? How many servants do your people keep? Have you got a butler? Well, then, have you got a cook? Where do you get your clothes made? How many shows did you go to in the hols? How much money did you bring back with you?’ etc. etc.
I have seen a little new boy, hardly older than eight, desperately lying his way through such a catechism:
‘Have your people got a car?’
‘Yes.’
‘What sort of car?’
‘Daimler.’
‘How many horse-power?’
(Pause, and leap in the dark.) ‘Fifteen.’
‘What kind of lights?’
The little boy is bewildered.
‘What kind of lights? Electric or acetylene?’
(A longer pause, and another leap in the dark.) ‘Acetylene.’
‘Coo! He says his pater's car's got acetylene lamps. They went out years ago. It must be as old as the hill.’
‘Rot! He's making it up. He hasn't got a car. He's just a navvy. Your pater's a navvy.’
And so on. (IV)
At the family dinner in "Ardis the Second" Marina (Van's, Ada's and Lucette's mother) asks Demon (Van's and Ada's father) where and how can she obtain the kind of old roomy limousine with an old professional chauffeur that Praskovia de Prey (mother of Percy de Prey, one of Ada's lovers) has had for years:
The roast hazel-hen (or rather its New World representative, locally called ‘mountain grouse’) was accompanied by preserved lingonberries (locally called ‘mountain cranberries’). An especially succulent morsel of one of those brown little fowls yielded a globule of birdshot between Demon’s red tongue and strong canine: ‘La fève de Diane,’ he remarked, placing it carefully on the edge of his plate. ‘How is the car situation, Van?’
‘Vague. I ordered a Roseley like yours but it won’t be delivered before Christmas. I tried to find a Silentium with a side car and could not, because of the war, though what connection exists between wars and motorcycles is a mystery. But we manage, Ada and I, we manage, we ride, we bike, we even jikker.’
‘I wonder,’ said sly Demon, ‘why I’m reminded all at once of our great Canadian’s lovely lines about blushing Irène:
‘Le feu si délicat de la virginité
Qui something sur son front...
‘All right. You can ship mine to England, provided —’
‘By the way, Demon,’ interrupted Marina, ‘where and how can I obtain the kind of old roomy limousine with an old professional chauffeur that Praskovia, for instance, has had for years?’
‘Impossible, my dear, they are all in heaven or on Terra. But what would Ada like, what would my silent love like for her birthday? It’s next Saturday, po razschyotu po moemu (by my reckoning), isn’t it? Une rivière de diamants?’
‘Protestuyu!’ cried Marina. ‘Yes, I’m speaking seriozno. I object to your giving her kvaka sesva (quoi que ce soit), Dan and I will take care of all that.’
‘Besides you’ll forget,’ said Ada laughing, and very deftly showed the tip of her tongue to Van who had been on the lookout for her conditional reaction to ‘diamonds.’
Van asked: ‘Provided what?’
‘Provided you don’t have one waiting already for you in George’s Garage, Ranta Road.’
‘Ada, you’ll be jikkering alone soon,’ he continued, ‘I’m going to have Mascodagama round out his vacation in Paris. Qui something sur son front, en accuse la beauté!’ (1.38)
Darkbloom (‘Notes to Ada’): le feu etc.: the so delicate fire of virginity
that on her brow...
po razschyotu po moemu: an allusion to Famusov (in Griboedov’s Gore ot uma), calculating the pregnancy of a lady friend.
protestuyu: Russ., I protest.
seriozno: Russ., seriously.
quoi que ce soit: whatever it might be.
en accuse etc.: ...brings out its beauty.
George’s Garage mentioned by Demon makes one think of George Orwell. Ranta Road hints at Granta River that flows in Cambridge (known on Demonia, Earth's twin planet also known as Antiterra, as Chose, Van's and Demon's University). Eric Blair (Orwell's real name) chose his pseudonym after after the River Orwell that flows through the county of Suffolk in England from Ipswich to Felixstowe.
As Mascodagama (Van's stage name) Van performs in variety shows dancing tango on his hands:
On February 5, 1887, an unsigned editorial in The Ranter (the usually so sarcastic and captious Chose weekly) described Mascodagama’s performance as ‘the most imaginative and singular stunt ever offered to a jaded music-hall public.’ It was repeated at the Rantariver Club several times, but nothing in the programme or in publicity notices beyond the definition ‘Foreign eccentric’ gave any indication either of the exact nature of the ‘stunt’ or of the performer’s identity. Rumors, carefully and cleverly circulated by Mascodagama’s friends, diverted speculations toward his being a mysterious visitor from beyond the Golden Curtain, particularly since at least half-a-dozen members of a large Good-will Circus Company that had come from Tartary just then (i.e., on the eve of the Crimean War) — three dancing girls, a sick old clown with his old speaking goat, and one of the dancers’ husbands, a make-up man (no doubt, a multiple agent) — had already defected between France and England, somewhere in the newly constructed ‘Chunnel.’ Mascodagama’s spectacular success in a theatrical club that habitually limited itself to Elizabethan plays, with queens and fairies played by pretty boys, made first of all a great impact on cartoonists. Deans, local politicians, national statesmen, and of course the current ruler of the Golden Horde were pictured as mascodagamas by topical humorists. A grotesque imitator (who was really Mascodagama himself in an oversophisticated parody of his own act!) was booed at Oxford (a women’s college nearby) by local rowdies. A shrewd reporter, who had heard him curse a crease in the stage carpet, commented in print on his ‘Yankee twang.’ Dear Mr ‘Vascodagama’ received an invitation to Windsor Castle from its owner, a bilateral descendant of Van’s own ancestors, but he declined it, suspecting (incorrectly, as it later transpired) the misprint to suggest that his incognito had been divulged by one of the special detectives at Chose — the same, perhaps, who had recently saved the psychiatrist P.O. Tyomkin from the dagger of Prince Potyomkin, a mixed-up kid from Sebastopol, Id. (1.30)
The name of the current ruler of the Golden Horde, Khan Sosso (the ruler of the ruthless Sovietnamur Khanate), hints at Joseph Stalin (Iosif or, in Georgian, Soso Dzhugashvili), the leader of Soviet Russia in 1924-53). In a letter to Yvonne Davet (a French writer), Orwell described his fairy story Animal Farm (1945) as his novel ‘contre Stalin’. He suggested as a title for the French translation, ‘Union des républiques socialistes animales’ — URSA (the bear). URSA brings to mind 'Ursus,' the best Franco-Estotian restaurant in Manhattan Major to which Van takes Ada and Lucette in December 1893:
Knowing how fond his sisters were of Russian fare and Russian floor shows, Van took them Saturday night to ‘Ursus,’ the best Franco-Estonian restaurant in Manhattan Major. Both young ladies wore the very short and open evening gowns that Vass ‘miraged’ that season — in the phrase of that season: Ada, a gauzy black, Lucette, a lustrous cantharid green. Their mouths ‘echoed’ in tone (but not tint) each other’s lipstick; their eyes were made up in a ‘surprised bird-of-paradise’ style that was as fashionable in Los as in Lute. Mixed metaphors and double-talk became all three Veens, the children of Venus. (2.8)
Double-talk brings to mind doublethink, a term coined by Orwell as part of the fictional language of Newspeak in his novel Nineteen Eighty-Four (1949).