Describing the picnic on Ada's twelfth birthday, when he walks on his hands for the first time, Van Veen (the narrator and main character in VN's novel Ada, 1969) compares his Riverlane boarding school to a prison:
Two years earlier, when about to begin his first prison term at the fashionable and brutal boarding school, to which other Veens had gone before him (as far back as the days ‘when Washingtonias were Wellingtonias’), Van had resolved to study some striking stunt that would give him an immediate and brilliant ascendancy. Accordingly, after a conference with Demon, King Wing, the latter’s wrestling master, taught the strong lad to walk on his hands by means of a special play of the shoulder muscles, a trick that necessitated for its acquirement and improvement nothing short of a dislocation of the caryatics.
What pleasure (thus in the MS.). The pleasure of suddenly discovering the right knack of topsy turvy locomotion was rather like learning to man, after many a painful and ignominious fall, those delightful gliders called Magicarpets (or ‘jikkers’) that were given a boy on his twelfth birthday in the adventurous days before the Great Reaction — and then what a breathtaking long neural caress when one became airborne for the first time and managed to skim over a haystack, a tree, a burn, a barn, while Grandfather Dedalus Veen, running with upturned face, flourished a flag and fell into the horsepond. (1.13)
In De Profundis (1897), a letter to Lord Alfred Douglas written in Reading Gaol, Oscar Wilde says that the two great turning-points in his life were when his father sent him to Oxford, and when society sent him to prison. Describing his performance in variety shows as Mascodagama (when he dances tango on his hands), Van mentions Oxford (a women’s college near Chose, Van's English University):
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)
Elizabethan plays and Windsor Castle bring to mind Shakespeare's plays (including The Merry Wives of Windsor) mentioned by Oscar Wilde in his essay The Truth of Masks (1886):
The point, however, which I wish to emphasise is, not that Shakespeare appreciated the value of lovely costumes in adding picturesqueness to poetry, but that he saw how important costume is as a means of producing certain dramatic effects. Many of his plays, such as Measure for Measure, Twelfth Night, The Two Gentlemen of Verona, All’s Well that Ends Well, Cymbeline, and others, depend for their illusion on the character of the various dresses worn by the hero or the heroine; the delightful scene in Henry the Sixth, on the modern miracles of healing by faith, loses all its point unless Gloster is in black and scarlet; and the dénoûment of The Merry Wives of Windsor hinges on the colour of Anne Page’s gown.
Oscar Wilde is the author of Salomé (1893), a one-act tragedy written in French. Its title character, stepdaughter of Herod Antipas (a 1st century ruler of Galilee and Perea), demands and receives for her dance of the seven veils the head of Jokanaan (John the Baptist). Chose is French for "thing" and quelque chose means "something." In a note to his elegy Andrey Shen'ye ("André Chénier," 1825) Pushkin quotes Chénier's last words: "pourtant j'avais quelque chose la" (still, I did have something here [in my head]). André Chénier died under the guillotine (just three days before Robespierre's execution). In Eugene Onegin (One: V: 1-2) Pushkin says:
Мы все учились понемногу
Чему-нибудь и как-нибудь
All of us had a bit of schooling
in something and somehow.
On Demonia (aka Antiterra, Earth's twin planet on which Ada is set) Pushkin's poem Mednyi vsadnik ("The Bronze Horseman," 1833) is known as The Headless Horseman:
The year 1880 (Aqua was still alive — somehow, somewhere!) was to prove to be the most retentive and talented one in his long, too long, never too long life. He was ten. His father had lingered in the West where the many-colored mountains acted upon Van as they had on all young Russians of genius. He could solve an Euler-type problem or learn by heart Pushkin’s ‘Headless Horseman’ poem in less than twenty minutes. With white-bloused, enthusiastically sweating Andrey Andreevich, he lolled for hours in the violet shade of pink cliffs, studying major and minor Russian writers — and puzzling out the exaggerated but, on the whole, complimentary allusions to his father’s volitations and loves in another life in Lermontov’s diamond-faceted tetrameters. He struggled to keep back his tears, while AAA blew his fat red nose, when shown the peasant-bare footprint of Tolstoy preserved in the clay of a motor court in Utah where he had written the tale of Murat, the Navajo chieftain, a French general’s bastard, shot by Cora Day in his swimming pool. What a soprano Cora had been! Demon took Van to the world-famous Opera House in Telluride in West Colorado and there he enjoyed (and sometimes detested) the greatest international shows — English blank-verse plays, French tragedies in rhymed couplets, thunderous German musical dramas with giants and magicians and a defecating white horse. He passed through various little passions — parlor magic, chess, fluff-weight boxing matches at fairs, stunt-riding — and of course those unforgettable, much too early initiations when his lovely young English governess expertly petted him between milkshake and bed, she, petticoated, petititted, half-dressed for some party with her sister and Demon and Demon’s casino-touring companion, bodyguard and guardian angel, monitor and adviser, Mr Plunkett, a reformed card-sharper. (1.28)
Darkbloom (‘Notes to Ada’): The Headless Horseman: Mayn Reid’s title is ascribed here to Pushkin, author of The Bronze Horseman.
Lermontov: author of The Demon.
Tolstoy etc.: Tolstoy’s hero, Haji Murad, (a Caucasian chieftain) is blended here with General Murat, Napoleon’s brother-in-law, and with the French revolutionary leader Marat assassinated in his bath by Charlotte Corday.
André Chénier is the author of Ode to Charlotte Corday (1793). Oscar Wilde's play Salomé became popular in Germany, and Wilde's text was taken by the composer Richard Strauss as the basis of his 1905 opera Salome, the international success of which has tended to overshadow Wilde's original play.
Sebastian Melmoth (the name adopted by Wilde after his release from Reading Gaol) brings to mind Melmoth, Humbert's car in VN's novel Lolita (1955). In the Russian Lolita (1967) Gumbert dubs his car Ikar (after Icarus, the son of Dedalus, a legendary architect and craftsman). Demon Veen (Van's and Ada's father) is the son of Dedalus Veen (Van's grandfather who ran with the upturned face and fell into the horsepond). Dedalus's son Icarus perished flying too close to the sun. 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.
Van's schoolmate at Riverlane, Cheshire is a Rugby ace. Oscar Wilde said: "Rugby is a game for barbarians played by gentlemen. Football is a game for gentlemen played by barbarians.” At the family dinner in "Ardis the Second" Demon (who also finished Chose) says that Van prefers football:
‘Tell me, Bouteillan,’ asked Marina, ‘what other good white wine do we have — what can you recommend?’ The butler smiled and whispered a fabulous name.
‘Yes, oh, yes,’ said Demon. ‘Ah, my dear, you should not think up dinners all by yourself. Now about rowing — you mentioned rowing... Do you know that moi, qui vous parle, was a Rowing Blue in 1858? Van prefers football, but he’s only a College Blue, aren’t you Van? I’m also better than he at tennis — not lawn tennis, of course, a game for parsons, but "court tennis" as they say in Manhattan. What else, Van?’
‘You still beat me at fencing, but I’m the better shot. That’s not real sudak, papa, though it’s tops, I assure you.’
(Marina, having failed to obtain the European product in time for the dinner, had chosen the nearest thing, wall-eyed pike, or ‘dory,’ with Tartar sauce and boiled young potatoes.)
‘Ah!’ said Demon, tasting Lord Byron’s Hock. ‘This redeems Our Lady’s Tears.’ (1.38)
On Demonia England annexed France in 1815. The governor of Lute (as Paris is also known on Antiterra), Milord Goal makes one think of a football goal. The eleven main characters of Ada make a football team.
Goal = Gaol = Olga (in Pushkin's Eugene Onegin Tatiana Larin's younger sister)
At the Kalugano hospital where Van recovers from a wound received in a pistol duel with Captain Tapper, of Wild Violet Lodge, Tatiana (a remarkably pretty and proud young nurse) mentions quite lengthy prison terms:
For half a minute Van was sure that he still lay in the car, whereas actually he was in the general ward of Lakeview (Lakeview!) Hospital, between two series of variously bandaged, snoring, raving and moaning men. When he understood this, his first reaction was to demand indignantly that he be transferred to the best private palata in the place and that his suitcase and alpenstock be fetched from the Majestic. His next request was that he be told how seriously he was hurt and how long he was expected to remain incapacitated. His third action was to resume what constituted the sole reason of his having to visit Kalugano (visit Kalugano!). His new quarters, where heartbroken kings had tossed in transit, proved to be a replica in white of his hotel apartment — white furniture, white carpet, white sparver. Inset, so to speak, was Tatiana, a remarkably pretty and proud young nurse, with black hair and diaphanous skin (some of her attitudes and gestures, and that harmony between neck and eyes which is the special, scarcely yet investigated secret of feminine grace fantastically and agonizingly reminded him of Ada, and he sought escape from that image in a powerful response to the charms of Tatiana, a torturing angel in her own right. Enforced immobility forbade the chase and grab of common cartoons. He begged her to massage his legs but she tested him with one glance of her grave, dark eyes — and delegated the task to Dorofey, a beefy-handed male nurse, strong enough to lift him bodily out of bed. with the sick child clasping the massive nape. When Van managed once to twiddle her breasts, she warned him she would complain if he ever repeated what she dubbed more aptly than she thought ‘that soft dangle.’ An exhibition of his state with a humble appeal for a healing caress resulted in her drily remarking that distinguished gentlemen in public parks got quite lengthy prison terms for that sort of thing. However, much later, she wrote him a charming and melancholy letter in red ink on pink paper; but other emotions and events had intervened, and he never met her again). His suitcase promptly arrived from the hotel; the stick, however, could not be located (it must be climbing nowadays Wellington Mountain, or perhaps, helping a lady to go ‘brambling’ in Oregon); so the hospital supplied him with the Third Cane, a rather nice, knotty, cherry-dark thing with a crook and a solid black-rubber heel. Dr Fitzbishop congratulated him on having escaped with a superficial muscle wound, the bullet having lightly grooved or, if he might say so, grazed the greater serratus. Doc Fitz commented on Van’s wonderful recuperational power which was already in evidence, and promised to have him out of disinfectants and bandages in ten days or so if for the first three he remained as motionless as a felled tree-trunk. Did Van like music? Sportsmen usually did, didn’t they? Would he care to have a Sonorola by his bed? No, he disliked music, but did the doctor, being a concert-goer, know perhaps where a musician called Rack could be found? ‘Ward Five,’ answered the doctor promptly. Van misunderstood this as the title of some piece of music and repeated his question. Would he find Rack’s address at Harper’s music shop? Well, they used to rent a cottage way down Dorofey Road, near the forest, but now some other people had moved in. Ward Five was where hopeless cases were kept. The poor guy had always had a bad liver and a very indifferent heart, but on top of that a poison had seeped into his system; the local ‘lab’ could not identify it and they were now waiting for a report, on those curiously frog-green faeces, from the Luga people. If Rack had administered it to himself by his own hand, he kept ‘mum’; it was more likely the work of his wife who dabbled in Hindu-Andean voodoo stuff and had just had a complicated miscarriage in the maternity ward. Yes, triplets — how did he guess? Anyway, if Van was so eager to visit his old pal it would have to be as soon as he could be rolled to Ward Five in a wheelchair by Dorofey, so he’d better apply a bit of voodoo, ha-ha, on his own flesh and blood. (1.42)
Darkbloom (‘Notes to Ada’): palata: Russ., ward.
The name of Van's adversary in a pistol duel, Tapper may hint at Tupper, a popular ship in the following Fragment by Oscar Wilde:
Beautiful star with the crimson lips
And flagrant daffodil hair,
Come back, come back, in the shaking ships
O'er the much-overrated sea,
To the hearts that are sick for thee
With a woe worse than mal de mer-
O beautiful stars with the crimson lips
And the flagrant daffodil hair. -
O ship that shakes on the desolate sea,
Neath the flag of the wan White Star,
Thou bringest a brighter star with thee
From the land of the Philistine,
Where Niagara's reckoned fine
And Tupper is popular-
O ship that shakes on the desolate sea,
Neath the flag of the wan White Star.
The White Star Line was a British shipping line. Van's mistress Cordula de Prey (who comes to Kalugano and takes Van from the hospital in her car) marries Ivan G. Tobak, the shipowner. Van's stagename, Mascodagama hints at Vasco da Gama, the Portuguese navigator who discovered the sea route to India around the continent of Africa.
The wan White Star brings to mind Gray Star, a settlement in the remotest Northwest, where Mrs. Richard F. Schiller (Lolita's married name) dies in childbed, giving birth to a stillborn girl, on Christmas Day 1952. Humbert Humbert writes Lolita in legal confinement.
Dr Fitzbishop (the Kalugano surgeon) asks Van if he loves music. Paul Verlaine's poem Art poétique (“Art of Poetry,” 1885) begins with the line De la musique avant toute chose (Of music before everything). In 1873 Verlaine was arrested and imprisoned at Mons. According to Oscar Wilde, Verlaine and Prince Kropotkin (the founder of anarchism) were the two most remarkable people he ever met.