Mostrando entradas con la etiqueta victorian gothic. Mostrar todas las entradas
Mostrando entradas con la etiqueta victorian gothic. Mostrar todas las entradas

miércoles, 28 de febrero de 2018

THE NÄCKEN'S SONG

The Näcken's Song

Along the gravelly, rutted rues
Of wintry Paris; worn and weary, 
Trod the bundled, frigid few;
To their home-hearths blazing cheery,
Afore the night’s unfurling gloom
Should swallow them in snowdrifts dreary.
Nay, one lady, grave and fair, 
Remain’d atop the Garnier
Enfolded in the frozen air,
Wringing icy fingers; waited
Where the grey roofs tower’d high
And gargoyles perch’d, sublime and sated;
Sentinel lords o’er passers-by,
For her love, two hours’ belated,
Until the darkness cloak’d the sky.

Christine Daaé, Northern daughter,
Flaxen locks and rosy face;
Whispers tales her father taught her:
Trolls and goblins, dolls and lace.
Of Skogsra leading hunters’ slaughter,
Children of the changeling race.
Or milking maids, who at first sight
Would fancy Näcken water sprite,
And dared give chase in blind delight.
Tho’ the best-loved tale, she oft did say
Was Little Lotte, asleep in her bed;
And in her dreams, was carried away 
By an Angel’s voice inside her head. 
On seas of song, she’d blissfully sway
Til into the night, day brightly bled.

Upon the stones, this poor Mam’selle,
In ribbons blue and bobbles borrow’d,
Breathed a song she knew very well,
Hiding hated tears and sorrow,
Fearful of the fate befell’d
Her childhood friend; for on the morrow
With the dawning of the sun,
Man and Wife would wildly run
Toward Sweden’s freedom, finally won.
Raoul de Chagny, her youthful lover
Swore to steal her away that night
From watchful, yellow eyes that hover,
Lurking in shady, shelter’d heights,
Or depths of the opera ne’er discover’d
Where darkness reigns in place of light.

Cursing cold black’s baneful tiding,
O’er her lost love bitterly wept,
Unaware in bowers hiding—
Death’s Mask—to the shadows kept;
In cavernous hell no more residing,
Closer to empyrean crept,
Bent to banish from his life,
Long lonely years; no more in strife
With Christine as his living wife.
The Shadow beckoned to his singer;
Calloused by her hidden tryst, 
He steeled his smile and wrapped cold fingers 
Round her little, lily wrist.
Above her hand his corpse lips linger’d,
Blessing it with a ghostly kiss.

And with calm countenance barely shor’d,
Vaingloriously gestured to her hand.
She braved a glance and to her horror,
Found on it a golden band:
A wedding ring, no less no more,
To bind her to the darkness, damned. 
“Erik, poor Erik,” she whisper’d low,
“Pray, do not take me there below,
‘Cross Averne’s lurid ebb and flow
To your bleak tomb’s dank recess
Where daylight bold holds little worth.
And thus embrac’d by death’s caress,
I’ll sleep upon my funeral berth.
I ask no silk, jewel or largess,
Nay—just to live above the earth!”

But Angel cruel refused to listen,
Sweeping down dark halls, unheard,
Halting not, ‘til torchlight’s glisten
Met them in the mirror blur’d.
And wounded by her grim admission, 
To his bride, cried, undeter’d:
“None, save this, I can deny!
Gentle wife, your eyes please dry;
Your husband loathes to see you cry.”
Beneath the opera they descended
Thru labyrinths iced in winter’s wake;
His boat o’er waters veer’d and bended
To his lair beyond the lake.
With fair Christine, the ghost intended
Day forever to forsake.

He asked, “Recall sweet Music’s fire?
Thru memories veil’d, sift and sieve. 
It lifted you to lofty spires
And in my song, you’d joy to live 
Beneath the spell of Apollo’s lyre; 
Music anew, I’ll gladly give.”
Her gaze was bright and glassy-eyed,
But trembling lips at once belied
Her saddened soul. In vain, he sigh’d,
“Those perilous paths, my warning heed:
A fool’s death waits, if there you roam.
Christine, take refuge here with me;
Happily make this place your home.
Now rest your head upon my knee
And listen to this fairytale tome.

“You’ve heard of ellevolk’s leafy keep,
Of gygers’ knolls, or wood nymphs’ tails
In forests bosky, play and sleep;
Or of drown’d draugs’ shrieks and wails,
And sailors call’d by sirens deep
To lose their way in violent gales.
But water Nacken, solitary,
Is wickedest of all the fairy.
O’er his fine form, maid’s eyes tarry
Til desire clouds right and wrong,
And with fair fiddle, wooden hollow,
Lures her from life’s clanging throng
To watery grave in beryl streams shallow. 
If e’er you hear the Näcken’s song—
Christine, please swear you will not follow.”

With bated breath, she flinch’d in fear
When spider fingers deftly brush’d
A wayward lock behind her ear.
Ashy cheeks red ruddy flush’d,
Leapt to her feet, lest he draw nearer,
And to her bedroom’s haven, rush’d
To bolt the door and turn the lock, 
Then hours listen’d for a knock
Til hands turn’d quarter round the clock.
Thus into dreams at last she stray’d
When all about was eerily still;
Specters cut in hues array’d
Wove their gossamer webs until
Sleep’s feeble fabric quick was fray’d
By a violin’s muted trill.

The music danced, the music addled; 
Bow strokes strong to pierce the gloom.
She rose from her bed and lit a candle,
Afraid she’d wake her ghoulish groom;
With fingers shaky, turn’d the handle,
Bent to find she knew not whom.
Mind bewitch’d by music’s guide,
She flung the front door open wide,
Wander’d to the waterside;
Down she trod, as one bemused
And knelt o’er mirrors, unaware;
Smiling faintly, nimbly loosed
The soft waves of her yellow hair; 
And in her image pale diffused,
Saw the water’s deep despair. 

Slipping to the boat unseen,
She steered the way she’d come before.
Beyond the lake, a pale white sheen
Glided ‘cross the distant shore;
The fine form of Raoul de Chagny
Her love, she’d thought to see no more.
Blue eyes wide in disbelief,
Faint heart ousting bitter grief,
She leapt to rocky ground’s relief
For northern Sweden ready to fly;
Cast away her dismal fate
To dream of morning’s blessed sky,
And dusky sunsets roseate.
She bade the lair one last goodbye
And frantically cried “My dearest, wait!”

Mid-stride he halted, taken aback,
Then calmly, languidly twist’d round
His mouth was wide and yawning black,
Yet from his lips there came no sound.
At once he vanish’d thru stone cracks
Into forbidden undergrounds.
With steadfast mettle she trail’d along,
Winding thru the labyrinth long,
All the while, listening for the song.
She walk’d in silent darkness slowly
Fearful that she’d never find him.
Fingers grazed o’er flint walls lowly,
Braced for doppelganger grim, 
When thru the murk rang music holy:
A violin’s doleful Requiem.

Sanctus did its summons sing,
Leading her to the depths of hell.
Shadows stretch’d like devil’s wings
Thru endless paths; she tripped and fell
O’er cellar rats and unknown things,
Til death hail’d with its silver smell.
Candle high like funereal mourner,
She cross’d herself and turn’d the corner,
Screaming at the sight before her:
Everywhere the walls ran ruddy,
Swath’d in red-fringed drapery;
Sick, she knelt on stone floor muddy—
There, sprawl’d cold upon the lee
Was the murder’d body, bloody,
Of her love, Raoul de Chagny.

His eyes and lips were frost’d hoary;
Round his neck, a rope’s death mark.
She back’d away; on slick ground gory, 
Slip’d and snuff’d the candle dark.
All around the Näcken’s story
Fiercely plea’d for her to hark;
Death’s cold fingers clutch’d her mind;
She stumbled through the passages blind,
Caring not which way they’d wind.
Thru icy tunnels, terror chill’d
The violin’s song grew wildly welter’d
—Fleeing, lest she too be kill’d.
Willy-nilly, helter-skelter,
Here and there; she furiously will’d
Lead feet to carry her to shelter.

“Erik, my Erik!” she cried in anguish,
Frantic in the throes of strife,
“Do not leave me here to languish—
Come and find your little wife!
You’ve won,” she sobbed, “my soul is vanquish’d
I swear I’ll live with you for life!”
Still, escape ever eluded her;
Jutted, jagged path stones hew’d her
As the Näcken’s song pursued her.
A dervish, round the tunnels whirl’d
Fire feet ached and raw throat burn’d
Until, at last, the path unfurl’d
To well-known ground, where rock met silvern
Thru the cavern, echoes purl’d
Above the noxious Lake Averne

Down to the lake front, she went dashing
Where the boat bobbed ‘long the edge
And heedless, ran thru waters, splashing
Midst the slippery silt and dredge
Til all at once, she came down, crashing
Thru a sunken, rocky ledge.
The shifting bed of Averne thunder’d
Perilous stones collapsed asunder
Neath her feet and pull’d her under.
She flail’d and fought against the rocks,
Yet they held fast, like pitiless tyrants
Pinning down her frilly frock
With crushing weight, so swift and violent,
She ne’er had time to cry in shock
Before her captor forced her silent.

Black and hellish, heavy laden
Waters clasp’d her cold limbs chilly,
Til her struggle slowly faded
And fingers flutter’d against chantilly
Clouds of cloth ‘round her cascaded,
Pale drifting like a waterlily
By peaceful waves; her frenzy slaked
And seal’d her fate, no more to wake—
Drown’d upon the glassy lake.

Along her death path, Shadow strode,
Pierced by eerie light within:
A pair of yellow eyes that glow’d
Behind a figure, shroud’d thin.
Humming remnants of an epode,
He drew from his cloak, a violin.

Bloodless face and yellow eyes stared,
Admitting neither rage nor hate,
As one who’s wholly unprepared
To see such forlorn, tragic fate; 
So slowly was his mind ensnared
By bitter care of one too late
To save his beloved, macabre bride. 
He dove down to her watery abide
And pull’d her to his corpsy side
Beyond the tumbling waves’ rote, 
From waters slithering serpentine.
In blood-red ink: his requiem’s notes
He scrawl’d on paper white pristine,
Then finally ‘cross the top he wrote
In messy letters, “For Christine.”

He placed it under her cold, dead hands
And slid his bony fingers, tangled,
Into her hair of seaweed strands
With ragged breath; his heart was mangled
When he glimpsed her wedding band,
And said in low voice strange and strangled:
“Christine, Christine, my careless reacher
I warned about the Näcken creature,
Yet you’d not listen to your teacher.
Dear, do you find this game grows dreary?
All that could be giv’n, we gave;
Now on me, rest your heavy head weary;
Know, with you, I’ll share my grave.”
With one last kiss to each eye bleary,
He let her slip beneath the waves.

Bent to do just as he swore,
The phantom return’d to sepulchral shore
And lies there, still, to rise no more.

Christine Daaé, Northern daughter,
Death-dim eyes and tresses long;
Believed the tales her father taught her:
Truth or fable, right or wrong.
Now she sleeps below the water,
Victim of the Näcken’s song.

lunes, 24 de julio de 2017

JOHN SOLDIER

The following contains a personal record relating to experiments performed by an unnamed scientist believed to have been in the employ of the British Army at the time of the Crimean War.  This journal was discovered among records of the 18-- theater disaster in a private collection and was donated to the university library on condition of anonymity.  The other documents mentioned in this text have not been located.  Attempts made to discover the historic location of the Godwin or Goodwin Street Laboratory have thusfar been unsuccessful.

3 April 18--
Godwin Street Laboratory
The experiment was as successful as I'd hoped.  The soldier has regained consciousness and is able to sit and stand, with assistance, and to feed and dress himself.  I've shown him how to affix and remove the prosthetic.  The amputation site is healing well, with no sign of the previous infection.  The prosthetic, iron coated with a tin alloy - of my own design - is sturdy and I believe will meet the present need sufficiently.  It should be much less prone to rot or pests or other damage than the wooden variety. 

7 April 18--
Godwin Street Lab.
The soldier is making gains in his recovery, which I suppose is to be expected in one in the prime of life and health.  He has now taken several steps at a time before needing to rest.  He pushes himself manfully and I believe is as eager for a full recovery as I am.  He still does not speak, and I am uncertain whether that is an unforeseen effect of the resuscitation method, or due to the damage inflicted prior to my acquiring him.  I have every hope that speech may return and have begun language lessons along with daily calisthenics.

14 April 18--
Godwin Street Lab.
The solider still does not speak, though he can cross the laboratory quite easily now.  His movements are surprisingly swift with my prosthetic and the cane I've procured for his use.  He communicates roughly with broad and clumsy gestures.  I have decided to take him out to further exercise his limbs, and I am determined he should have every support in the recovery of the full use of the mind, if that is at all possible.  To that end, I have decided that I will take him to the theater in hopes that art may do for the mind what my own scientific endeavors have done for the body.

18 April 18--
Godwin Street Laboratory
The soldier was quite taken with the performance of two nights ago.  He sat rapt throughout, moaning and swaying to the music, and I believe I even saw a tear slip from closed eyes at the aria.  It is true that beauty may soothe the savage heart of man.  I will take him out again.

20 April 18--
Godwin Street
I took John Soldier, as I've begun to introduce him, to the ballet this evening, and it was, again, a resounding success.  He sat especially straight whenever the prima ballerina, the lovely and incomparable Leonie, came onstage.  After the performance, he tried to draw me backstage, but I explained to him that this was not possible, and returned him to my laboratory.

23 April 18--
Godwin Street Laboratory
John saw a poster for the ballet on our walk today and indicated by gesture that he should like a return visit, and so I will take him again.  He is moving quite well now with the continued assistance of the cane I procured for him.  One might think he was as any other returned veteran.  His dexterity has improved significantly as well, and he communicates quite fluently using signs of his own invention, though verbal communication remains beyond his grasp.  In future efforts, I will seek a specimen free of any trauma to the head to determine whether it is my methods that cause a loss of speech, or if some damage received prior to my receiving of the body may be permanent and irreparable.

26 April 18--
Godwin Street Laboratory
John was again the perfect audience member, giving total attention to the stage.  I must admit that I, too, quite enjoyed the performance.  Now that we have been out several times, I find I may relax more and give myself over to the joys of the theater rather than focus solely on, or worry overmuch for John.  He again tried to draw me backstage, and I reminded him that it wasn't to be done.  Although he does not speak, I've begun to wonder whether John might read and write.  I will purchase some additional writing implements for his practice.

27 April 18--
Godwin Str. Lab.
John is able to write!  I've asked him to write about what he remembers.  He has no recollection of the time before his coming to me.  I explained that he was a soldier in a war, and at this he tapped his prosthetic, I believe indicating his understanding that his leg was lost in the war.  I acknowledged that such was indeed the case, and asked him to write down what had happened to him there.  Of course, I have retained the official report that accompanied him to me; however, I did not wish to influence his own recollection.  In the end he only wrote exactly what I told him, that he had been a soldier in a war and that is how he lost his leg.  I asked him what else he remembered, and he provided a most accurate and moving description of the ballet, and asked the name of the ballerina.  I told him she is Leonie, our shining star escaped to us from the troubles across the Channel.  He asked if this was the war he had been in and I explained that, no, he had come to me from the Crimean War.  He nodded and became pensive and would write no more.  I suspect in my excitement I may have tired him.  Any new skill requires a rest of efforts to perfect!  Tomorrow I shall have him practice more.

28 April 18--
Godwin Str.
John has made some sketches in the night, which I have included in these files. One appears to be of the open ocean, which of course he must have crossed to reach the battlefields.  The other is a strange abstraction I can make head nor tail of.  I asked him to describe them to me and he wrote, they are nothing, and asked to return to the ballet.  I will take him again tonight - I admit, I may be a bit of an indulgent parent - but I have told him he must complete all of his assignment and exercises first, and we will make an effort at speaking some of the words he writes so eloquently.

29 April--
Godwin Street Laboratory
Last night John enjoyed the ballet as always, and came straightaway back to the laboratory without any tugging or reluctance or interest in the backstage area.  I had no suspicions of him, and returned to my own flat after wishing him a good evening.  I arrived at my laboratory early this morning, eager to resume our efforts at communication, and bringing with me a book of poetry that I thought he might enjoy, when I found that the door was unlocked.  He was not inside.  He was nowhere to be found.  I asked the vendors on the street and asked in at the shops, but no one had seen John Soldier.  I returned to my laboratory to investigate further whether anything else was missing, and to try to understand who might have known of my experiment and stolen this most crucial and critical part of my research, when John himself arrived.  I asked for his account of what had occurred, and he wrote that he had gone out.  I asked him, out where, and what did he mean by this?  He wrote down that he had been to see Leonie, that he had given her a letter he had written, that it was not my concern what was contained in that letter (I have included all of his writings with this report, some of which was in answer to my own spoken questions), and that she was pleased with his calling on her.  He means to do it again!  I have explained to him that this cannot be.  He cannot have the liberty of the town.  I have explained that he is not like other men, though I confess I know not how to tell him just what he is; and likewise I have explained that there is keen need and great interest in maintaining discretion around his exact nature and strict control of his comings and goings and whereabouts.  This is where his writing becomes quite heavy and illegible, but he gave me to understand that my interest in controlling his movement is no concern of his.  It is a fit of temper, understandable and passing, I am certain, as he comes to regain his strength and vitality.  I have made him aware that he must, under no circumstances, go out on his own again.

1 May--
He has done it again.  I came and found the door unlocked.  He was here this time, thank God, but had clearly been out in the evening.  He insisted he had not broken his word, as my demand was not the extraction of his promise, and that he had not been out alone in any event, if his safety was my concern.   He was with Leonie and others from the ballet, so he claims!  I begin to understand the frustrations of heads of house when their heirs are prone to disobedience.  I've had a lock put on the door that can only be turned by a key from the outside.  I tried to keep him from seeing it, knowing it would upset him, but he followed me the door, and I heard his wordless yelling and beating against it when I left.

2 May--
Godwin Street Laboratory
He is sulking and refuses to go through any of his exercises.

5 May--
Godwin Str. Lab.
A letter arrived - from the ballerina! - asking where he is and if he is well.  Of course I read it first, and when I showed it to him, he cheered some.  My financiers have requested an updated report and an inspection, so I must have him behaving well.  I've told him if he will perform all his exercises and answer any questions put to him, I'll take him to the ballet again, and he has agreed.  I will put my faith in his word as a soldier.  I don't know that I have any other choice.

8 May--
All is lost!  The culmination of so many years' effort and research, gone!  I do not know by what power I may recover from this blow.  John performed masterfully for the inspectors, and wrote as eloquently as ever, and made noises to demonstrate our efforts at restoring his speech, and I believe they were well satisfied.  As promised, I took him to the ballet.  Our elegant shining star danced as beautifully as ever - 

20 May--
Godwin Street Laboratories
I will own that I broke off in my previous record being fully overcome by emotion at the tragedy I have witnessed, as well as my own great loss.  The beautiful Leonie, in her performance - what was to be her final performance - passed too closely to the gaslights illuminating the stage.  Her flowing skirts lit up before anyone could stop it.  As she ran to and fro across the stage, screaming, John jumped over me and pushed into the aisle, where several patrons were already evacuating in case the danger spread.  I noted again that he had become very agile with his cane.  Then my brave Soldier climbed onto the stage, dropped his cane, and wrapped himself around the ballerina.  Yet rather than snuffing the flames, his coat caught, and then she stopped screaming, and he stood there, in brave silence, until he also fell.  I confess to being struck motionless in my seat, paralyzed by the awfulness of what unfolded before me.  The fire marshal arrived and put out the flames, and all were evacuated from the building.  The reports list John as an unnamed soldier who perished alongside Leonie in an effort to rescue her.  Was he returned to this land of the living only to once again meet such a sudden and complete end?  I have acquired a new specimen and find I am unable to achieve a similar result.



Kiyomi Appleton Gaines loves folklore and fairy tales for what they teach us about what it means to be human; more of her writing can be found on Medium.  She lives in New Orleans with her husband, and pet fish.