Ada or Ardor: A Family Chronicle Part 2, Chapter 9 (view annotations) |
9 |
After some exploration, they tracked down a rerun of The | |
Young and the Doomed (1890) to a tiny theater that spe- | |
cialized in Painted Westerns (as those deserts of nonart used | |
to be called). Thus had Mlle Larivière's Enfants Maudits (1887) | |
424.05 | finally degenerated! She had had two adolescents, in a French |
castle, poison their widowed mother who had seduced a | |
young neighbor, the lover of one of her twins. The author | |
had made many concessions to the freedom of the times, and | |
the foul fancy of scriptwriters; but both she and the leading | |
424.10 | lady disavowed the final result of multiple tamperings with the |
plot that had now become the story of a murder in Arizona, | |
the victim being a widower about to marry an alcoholic prosti- | |
tute, whom Marina, quite sensibly, refused to impersonate. But | |
poor little Ada had clung to her bit part, a two-minute scene | |
424.15 | in a traktir (roadside tavern). During the rehearsals she felt |
she was doing not badly as a serpentine barmaid—until the | |
director blamed her for moving like an angular "backfish." | |
She had not deigned to see the final product and was not | |
overeager to have Van see it now, but he reminded her that | |
424.20 | the same director, G.A. Vronsky, had told her she was always |
[ 424 ]
pretty enough to serve one day as a stand-in for Lenore Colline, | |
who at twenty had been as attractively gauche as she, raising | |
and tensing forward her shoulders in the same way, when cross- | |
ing a room. Having sat through a preliminary P.W. short, they | |
425.05 | finally got to The Young and the Doomed only to discover that |
the barmaid scene of the barroom sequence had been cut out— | |
except for a perfectly distinct shadow of Ada's elbow, as Van | |
kindly maintained. | |
Next day, in their little drawing room, with its black divan, | |
425.10 | yellow cushions, and draftproof bay whose new window seemed |
to magnify the slow steady straight-falling snowflakes (coinci- | |
dentally stylized on the cover of the current issue of The Beau | |
& the Butterfly which lay on the window ledge), Ada discussed | |
her "dramatic career." The whole matter secretly nauseated | |
425.15 | Van (so that, by contrast, her Natural History passion ac- |
quired a nostalgic splendor). For him the written word existed | |
only in its abstract purity, in its unrepeatable appeal to an | |
equally ideal mind. It belonged solely to its creator and could | |
not be spoken or enacted by a mime (as Ada insisted) without | |
425.20 | letting the deadly stab of another's mind destroy the artist in the |
very lair of his art. A written play was intrinsically superior to | |
the best performance of it, even if directed by the author him- | |
self. Otherwise, Van agreed with Ada that the talking screen | |
was certainly preferable to the live theater for the simple reason | |
425.25 | that with the former a director could attain, and maintain, his |
own standards of perfection throughout an unlimited number | |
of performances. | |
Neither of them could imagine the partings that her profess- | |
sional existence "on location" might necessitate, and neither | |
425.30 | could imagine their traveling together to Argus-eyed destina- |
tions and living together in Hollywood, U.S.A., or Ivydell, | |
England, or the sugar-white Cohnritz Hotel in Cairo. To tell | |
the truth they did not imagine any other life at all beyond their | |
present tableau vivant in the lovely dove-blue Manhattan sky. |
[ 425 ]
[ 426 ]
"That you also wrote to me once." | |
The beginning of Ada's limelife in 1891 happened to coin- | |
cide with the end of her mother's twenty-five-year-long career. | |
What is more, both appeared in Chekhov's Four Sisters. Ada | |
427.05 | played Irina on the modest stage of the Yakima Academy of |
Drama in a somewhat abridged version which, for example, kept | |
only the references to Sister Varvara, the garrulous originalka | |
("odd female"—as Marsha calls her) but eliminated her actual | |
scenes, so that the title of the play might have been The Three | |
427.10 | Sisters, as indeed it appeared in the wittier of the local notices. |
It was the (somewhat expanded) part of the nun that Marina | |
acted in an elaborate film version of the play; and the picture | |
and she received a goodly amount of undeserved praise. | |
"Ever since I planned to go on the stage," said Ada (we are | |
427.15 | using her notes), "I was haunted by Marina's mediocrity, au |
au dire de la critique, which either ignored her or lumped her in | |
the common grave with other 'adequate sustainers'; or, if the | |
role had sufficient magnitude, the gamut went from 'wooden' | |
to 'sensitive' (the highest compliment her accomplishments | |
427.20 | had ever received). And here she was, at the most delicate |
moment of my career, multiplying and sending out to friends | |
and foes such exasperating comments as 'Durmanova is superb | |
as the neurotic nun, having transferred an essentially static and | |
episodical part into et cetera, et cetera, et cetera." | |
427.25 | "Of course, the cinema has no language problems," continued |
Ada (while Van swallowed, rather than stifled, a yawn). "Ma- | |
rina and three of the men did not need the excellent dubbing | |
which the other members of the cast, who lacked the lingo, | |
were provided with; but our wretched Yakima production | |
427.30 | could rely on only two Russians, Stan's protégé Altshuler in |
the role of Baron Nikolay Lvovich Tuzenbach-Krone- | |
Altschauer, and myself as Irina, la pauvre et noble enfant, who | |
is a telegraph operator in one act, a town-council employee in | |
another, and a schoolteacher in the end. All the rest had a |
[ 427 ]
macedoine of accents—English, French, Italian—by the way | |
what's the Italian for 'window'?" | |
"Finestra, sestra," said Van, mimicking a mad prompter. | |
"Irina (sobbing): 'Where, where has it all gone? Oh, dear, | |
428.05 | oh, dear! All is forgotten, forgotten, muddled up in my head— |
I don't remember the Italian for "ceiling" or, say, "window." ' " | |
"No, 'window' comes first in that speech," said Van, "be- | |
cause she looks around, and then up; in the natural movement | |
of thought." | |
428.10 | "Yes, of course: still wrestling with 'window,' she looks up |
and is confronted by the equally enigmatic 'ceiling.' In fact, | |
I'm sure I played it your psychological way, but what does it | |
matter, what did it matter?—the performance was perfectly | |
odious, my baron kept fluffing every other line—but Marina, | |
428.15 | Marina was marvelous in her world of shadows! 'Ten years |
and one have gone by-abye since I left Moscow' "—(Ada, now | |
playing Varvara, copied the nun's "singsongy devotional tone" | |
(pevuchiy ton bogomolki, as indicated by Chekhov and as ren- | |
dered so irritatingly well by Marina). " 'Nowadays, Old Bas- | |
428.20 | mannaya Street, where you (turning to Irina) were born a |
score of yearkins (godkov) ago, is Busman Road, lined on both | |
sides with workshops and garages (Irina tries to control her | |
tears). Why, then, should you want to go back, Arinushka? | |
(Irina sobs in reply).' Naturally, as would-every fine player, | |
428.25 | mother improvised quite a bit, bless her soul. And moreover |
her voice—in young tuneful Russian!—is substituted for Le- | |
nore's corny brogue." | |
Van had seen the picture and had liked it. An Irish girl, the | |
infinitely graceful and melancholy Lenore Colline— | |
428.30 | Oh! qui me rendra ma colline |
Et le grand chêne and my colleen! | |
—harrowingly resembled Ada Ardis as photographed with her | |
mother in Belladonna, a movie magazine which Greg Erminin |
[ 428 ]
had sent him, thinking it would delight him to see aunt and | |
cousin, together, on a California patio just before the film was | |
released. Varvara, the late General Sergey Prozorov's eldest | |
daughter, comes in Act One from her remote nunnery, Tsitsikar | |
429.05 | Convent, to Perm (also called Permwail), in the backwoods of |
Akimsk Bay, North Canady, to have tea with Olga, Marsha, | |
and Irina on the latter's name day. Much to the nun's dismay, | |
her three sisters dream only of one thing—leaving cool, damp, | |
mosquito-infested but otherwise nice and peaceful "Permanent" | |
429.10 | as Irina mockingly dubs it, for high life in remote and sinful |
Moscow, Id., the former capital of Estotiland. In the first edition | |
of his play, which never quite manages to heave the soft sigh | |
of a masterpiece, Tchechoff (as he spelled his name when living | |
that year at the execrable Pension Russe, 9, rue Gounod, Nice) | |
429.15 | crammed into the two pages of a ludicrous expository scene all |
the information he wished to get rid of, great lumps of recol- | |
lections and calendar dates—an impossible burden to place on | |
the fragile shoulders of three unhappy Estotiwomen. Later he | |
redistributed that information through a considerably longer | |
429.20 | scene in which the arrival of the monashka Varvara provides |
all the speeches needed to satisfy the restless curiosity of the | |
audience. This was a neat stroke of stagecraft, but unfortunately | |
(as so often occurs in the case of characters brought in for | |
disingenuous purposes) the nun stayed on, and not until the | |
429.25 | third, penultimate, act was the author able to bundle her off, |
back to her convent. | |
"I assume," said Van (knowing his girl), "that you did not | |
want any tips from Marina for your Irina?" | |
"It would have only resulted in a row. I always resented her | |
429.30 | suggestions because they were made in a sarcastic, insulting |
manner. I've heard mother birds going into neurotic paroxysms | |
of fury and mockery when their poor little tailless ones (bezkh- | |
vostïe bednyachkí) were slow in learning to fly. I've had enough | |
of that. By the way, here's the program of my flop." |
[ 429 ]
Van glanced through the list of players and D.P.'s and noticed | |
two amusing details: the role of Fedotik, an artillery officer | |
(whose comedy organ consists of a constantly clicking camera), | |
had been assigned to a "Kim (short for Yakim) Eskimossoff" | |
430.05 | and somebody called "John Starling" had been cast as Skvortsov |
(a sekundant in the rather amateurish duel of the last act) whose | |
name comes from skvorets, starling. When he communicated the | |
latter observation to Ada, she blushed as was her Old World | |
wont. | |
430.10 | "Yes," she said, "he was quite a lovely lad and I sort of |
flirted with him, but the strain and the split were too much | |
for him—he had been, since pubescence, the puerulus of a fat | |
ballet master, Dangleleaf, and he finally committed suicide. You | |
see ('the blush now replaced by a matovaya pallor') I'm not | |
430.15 | hiding one stain of what rhymes with Perm." |
"I see. And Yakim—" | |
"Oh, he was nothing." | |
"No, I mean, Yakim, at least, did not, as his rhymesake did, | |
take a picture of your brother embracing his girl. Played by | |
430.20 | Dawn de Laire." |
"I'm not sure. I seem to recall that our director did not mind | |
some comic relief." | |
"Dawn en robe rose et verte, at the end of Act One." | |
"I think there was a click in the wings and some healthy | |
430.25 | mirth in the house. All poor Starling had to do in the play was |
to hollo off stage from a rowboat on the Kama River to give | |
the signal for my fiancé to come to the dueling ground." | |
But let us shift to the didactic metaphorism of Chekhov's | |
friend, Count Tolstoy. | |
430.30 | We all know those old wardrobes in old hotels in the Old |
World subalpine zone. At first one opens them with the utmost | |
care, very slowly, in the vain hope of hushing the excruciating | |
creak, the growing groan that the door emits midway. Before | |
long one discovers, however, that if it is opened or closed with |
[ 430 ]
celerity, in one resolute sweep, the hellish hinge is taken by | |
surprise, and triumphant silence achieved. Van and Ada, for | |
all the exquisite and powerful bliss that engulfed and repleted | |
them (and we do not mean here the rose sore of Eros alone), | |
431.05 | knew that certain memories had to be left closed, lest they |
wrench every nerve of the soul with their monstrous moan. | |
But if the operation is performed swiftly, if indelible evils are | |
mentioned between two quick quips, there is a chance that the | |
anesthetic of life itself may allay unforgettable agony in the | |
431.10 | process of swinging its door. |
Now and then she poked fun at his sexual peccadilloes, though | |
generally she tended to ignore them as if demanding, by tacit | |
implication, a similar kind of leniency in regard to her frailty. | |
He was more inquisitive than she but hardly managed to learn | |
431.15 | more from her lips than he had from her letters. To her past |
admirers Ada attributed all the features and faults we have | |
already been informed of: incompetence of performance, inanity | |
and nonentity, and to her own self nothing beyond easy fem- | |
inine compassion and such considerations of hygiene and sanity | |
431.20 | as hurt Van more than would a defiant avowal of passionate |
betrayal. Ada had made up her mind to transcend his and her | |
sensual sins: the adjective being a near synonym of "senseless" | |
and "soulless"; therefore not represented in the ineffable here- | |
after that both our young people mutely and shyly believed in. | |
431.25 | Van endeavored to follow the same line of logic but could not |
forget the shame and the agony even while reaching heights | |
of happiness he had not known at his brightest hour before his | |
darkest one in the past. |
[ 431 ]