The Vampire Lestat (The Vampire Chronicles 2)

The revenants who haunted the Mameluke tombs in Cairo were beastly wraiths, held to the old laws by hollow-eyed masters who lived in the ruins of a Coptic monastery, their rituals full of Eastern magic and the evocation of many demons and evil spirits whom they called by strange names. They stayed clear of us, despite all their acidic threats, yet they knew our names.

As the years passed, we learned nothing from all these creatures, which of course was no great surprise to me.

And though vampires in many places had heard the legends of Marius and the other ancient ones, they had never seen such beings with their own eyes. Even Armand had become a legend to them, and they were likely to ask: "Did you really see the vampire Armand?" Nowhere did I meet a truly old vampire. Nowhere did I meet a vampire who was in any way a magnetic creature, a being of great wisdom or special accomplishment, an unusual being in whom the Dark Gift had worked any perceivable alchemy that was of interest to me.

Armand was a dark god compared to these beings. And so was Gabrielle and so was I.

But I jump ahead of my tale.

Early on, when we first came into Italy, we gained a fuller and more sympathetic knowledge of the ancient rituals. The Roman coven came out to welcome us with open arms. "Come to the Sabbat," they said. "Come into the catacombs and join in the hymns. "

Yes, they knew that we'd destroyed the Paris coven, and bested the great master of dark secrets, Armand. But they didn't despise us for it. On the contrary, they could not understand the cause of Armand's resignation of his power. Why hadn't the coven changed with the times?

For even here where the ceremonies were so elaborate and sensuous that they took my breath away, the vampires, far from eschewing the ways of men, thought nothing of passing themselves off as human whenever it suited their purposes. It was the same with the two vampires we had seen in Venice, and the handful we were later to meet in Florence as well.

In black cloaks, they penetrated the crowds at the opera, the shadowy corridors of great houses during balls and banquets, and even sometimes sat amid the press in lowly taverns or wine shops, peering at humans quite close at hand. It was their habit here more than anywhere to dress in the costumes of the time of their birth, and they were often splendidly attired and most regal, possessing jewels and finery and showing it often to great advantage when they chose.

Yet they crept back to their stinking graveyards to sleep, and they fled screaming from any sign of heavenly power, and they threw themselves with savage abandon into their horrifying and beautiful Sabbats.

In comparison, the vampires of Paris had been primitive, coarse, and childlike; but I could see that it was the very sophistication and worldliness of Paris that had caused Armand and his flock to retreat so far from mortal ways.

As the French capital became secular, the vampires had clung to old magic, while the Italian fiends lived among deeply religious humans whose lives were drenched in Roman Catholic ceremony, men and women who respected evil as they respected the Roman Church. In sum the old ways of the fiends were not unlike the old ways of people in Italy, and so the Italian vampires moved in both worlds. Did they believe in the old ways? They shrugged. The Sabbat for them was a grand pleasure. Hadn't Gabrielle and I enjoyed it? Had we not finally joined in the dance?

"Come to us anytime that you wish," the Roman vampires told us.

As for this Theater of the Vampires in Paris, this great scandal which was shocking our kind the world over, well, they would believe that when they saw it with their own eyes. Vampires performing on a stage, vampires dazzling mortal audiences with tricks and mimicry -- they thought it was too terribly Parisian! They laughed.

Of course I was hearing more directly about the theater all the time. Before I'd even reached St. Petersburg, Roget had sent me a long testament to the "cleverness" of the new troupe:

They have gotten themselves up like giant wooden marionettes [he wrote]. Gold cords come down from the rafters to their ankles and their wrists and the tops of their heads, and by these they appear to be manipulated in the most charming dances. They wear perfect circles of rouge on their white cheeks, and their eyes are wide as glass buttons. You cannot believe the perfection with which they make themselves appear inanimate.

Bu

t the orchestra is another marvel. Faces blank and painted in the very same style, the players imitate mechanical musicians -- the jointed dolls one can buy that, on the winding of a key, saw away at their little instruments, or blow their little horns, to make real music!

It is such an engaging spectacle that ladies and gentlemen of the audience quarrel amongst themselves as to whether or not these players are dolls or real persons.

Some aver that they are all made of wood and the voices coming out of the actors' mouths are the work of ventriloquists.

As for the plays themselves, they would be extremely unsettling were they not so beautiful and skillfully done.

There is one most popular drama they do which features a vampire revenant, risen from the grave through a platform in the stage. Terrifying is the creature with rag mop hair and fangs. But lo, he falls in love at once with a giant wooden puppet woman, never guessing that she is not alive. Unable to drink blood from her throat, however, the poor vampire soon perishes, at which moment the marionette reveals that she does indeed live, though she is made of wood and with an evil smile she performs a triumphant dance upon the body of the defeated fiend.

I tell you it makes the blood run cold to see it. Yet the audience screams and applauds.

In another little tableau, the puppet dancers make a circle about a human girl and entice her to let herself be bound up with golden cords as if she too were a marionette. The sorry result is that the strings make her dance till the life goes out off her body. She pleads with eloquent gestures to be released, but the real puppets only laugh and cavort as she expires.

The music is unearthly. It brings to mind the gypsies of the country fairs. Monsieur de Lenfent is the director. And it is the sound of his violin which often opens the evening fare.

I advise you as your attorney to claim some of the profits being made by this remarkable company. The lines for each performance stretch a considerable length down the boulevard.

Roget's letters always unsettled me. They left me with my heart tripping, and I couldn't help but wonder: What had I expected the troupe to do? Why did their boldness and inventiveness surprise me? We all had the power to do such things. By the time I settled in Venice, where I spent a great deal of time looking in vain for Marius's paintings, I was hearing from Eleni directly, her letters inscribed with exquisite vampiric skill.

They were the most popular entertainment in nighttime Paris, she wrote to me. "Actors" had come from all over Europe to join them. So their troupe had swelled to twenty in number, which even that metropolis could scarce "support. "

"Only the most clever artists are admitted, those who possess truly astonishing talent, but we prize discretion above all else. We do not like scandal, as you can well guess. "

As for their "Dear Violinist," she wrote of him affectionately, saying he was their greatest inspiration, that he wrote the most ingenious plays, taking them from stories that he read. "But when he is not at work, he can be quite impossible. He must be watched constantly so that he does not enlarge our ranks. His dining habits are extremely sloppy. And on occasion he says most shocking things to strangers, which fortunately they are too sensible to believe. "