For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.
You know the drill. This is the beginning of chapter 13 so it is time to transition and set the scene. The transition comes first...
The invitations from Ernst continued every week. During that time, Aksinya and Natalya had an unwelcome break from school for Christmas and New Years. It was unwelcome because Natalya wanted to study and Aksinya liked the privacy of her own house—the Freiherr and Freifrau insisted they stay at Grossbock during the holiday. Ernst came to collect Aksinya and Natalya at Grossbock for their outings. Occasionally he ate dinner with them. During the holidays, he escorted Aksinya to dinner and a concert, opera, ballet, or a play every other day. The Freiherr and Freifrau encouraged Aksinya, and Aksinya was certain her aunt and uncle encouraged Ernst. She had her own suspicions that Asmodeus also encouraged him. She hadn’t seen Asmodeus for a while and that worried her very much. Natalya simply went along with Aksinya and carefully watched Ernst.
Aksinya made it her practice not to drink as much as she had the night of Die Zauberflöte. She still enjoyed the wine and Champagne Ernst served her, but she was just a little more cautious. She loved to drink but she did not enjoy the aftermath, and she wasn’t certain of what she did or told Natalya in the privacy of her room when she was not sober.
Ernst invited Aksinya, Natalya, and the Bockmanns to the Graff von Taaffe’s New Years dance and party. Because of the distance to the estate, they were invited to remain over until the next day and brought their small trunks and nightwear. They rode in the Bockmann’s coupe for more than two hours into the country until they arrived at the Graff von Taaffe’s estate. The way to the house from the main road was down a long tree-lined carriage path. Aksinya would have continued to read her German novel except that Natalya pointed out their approach to the house. They caught occasional glimpses from the enclosed cab of the great house as they cut back and forth in the gentle climb to the mansion.
The house was large and very old. From a distance, it looked like a schloß, but had a little more modern appearance close up. That is, on closer observation, it appeared to be from the eighteenth century, which it was, rather than from the fourteenth century, which it wasn’t. The front was stone with a generous fresco of marble, and all three floors displayed a similar exterior. The access to the heavy oaken front door was from a set of modern marble steps, but in contrast, the lower floor showed tiny windows and the top floor a crenulated roofline. Aksinya could spot the iron roofing that poked above the tops of the decorative crenulations. The second floor windows were larger and more numerous, but still gave an impression of medieval depth, and the top floor windows were the largest, but the thickness of the stone facade prevented any visibility into them. Tall constructions at either end of the face of the mansion appeared like towers, but they were encompassed at the walls and not separate structures.
The mansion reminded Aksinya a little of her house in Russia. The outline and much of the ornamentation were similar. In Russia, however, the purpose was protection and defense. Her house had been defended many times in the past by the Counts Golitsyna. She, on the other hand, had abandoned it instead of defending it with her life. She shook her head. She wondered why that thought had suddenly stolen into her mind. The von Taaffe estate, on the other hand, gave no impression that it had ever been defended against any real foe.
You need to ask yourself this question: does Aksinya appear like a woman in love. If she does, I have failed miserably. On the other hand, if Ernst doesn't appear like a love-struck puppy, I have messed up the writing entirely. If you didn't get it before, you should now. The details in this transition give you many details about Aksinya and Natalya and, of course, Ernst. We knew about the relationship pushing from the Freiherr and Freifrau. We could have guessed that Natalya loves to study and Aksinya loves her privacy. I hope you are suspicious too about the interaction of Asmodeus in the whole affair.
We also see that Aksinya is trying to moderate her own behaviour. She hasn't been successful in the past and we know where this kind of thing goes anyway. I suspect she won't be successful now, but we shall see. Note, that Aksinya is concerned with what she might reveal to Natalya while she is drunk.
Now on to the main point of the chapter: Ernst invited Aksinya to his father's estate for New Years. He also, quite properly, invited Aksinya's aunt and uncle. This is the scene setting for the chapter. This occurs following the transition. I give you a bunch of information in a tight format. Notice that Aksinya doesn't care about the house, Natalya points it out to her. It is through the eyes of Aksinya we see the house of Ernst's father. The mansion is on a mountain top. I don't tell you this, I show you this through the travel on the road. I also use comparison and other techniques to describe the house to you. This description is a metaphor for the Taaffe family. So lets look at the details of that.
The house is large and very old. Likewise the Taaffe family. It looks like a castle (that's what a schloß is). It is more modern close up. So Ernst is like his father's house. It has the appearance of age and the past, but close up, he is modern (in terms of a noble). The other details likewise relate to the building and the family. The contrast between modern and ancient between old and new. The description of the house also shows the windows are tiny on the bottom with thick walls and wider with the same thick walls at the top. This indicates the potential secrets and privacy of the family. You know there is a depth and many secrets here, but I don't reveal any of them. There are secrets especially about Ernst, but I haven't shown them to you. You might ask about how Ernst became involved in sorcery. You might wonder about his mother--we'll see that later, and his father.
The next comparison is between Aksinya's house and Ernst's father's house. It reminds her of her house in Russia. Take this metaphor to the full point. Ernst's house is a facade; Aksinya's house was used for defense. This is a foreshadowing to what I mentioned before. Do you think Ernst can release Aksinya from her curse? What do you read from his father's house. Akinsya tells you that in spite of her power and her desires, in her well protected and defended house, she could not defend or protect it. The end tagline about the Taaffe's estate is this: The von Taaffe estate, on the other hand, gave no impression that it had ever been defended against any real foe. So what do you think? Tomorrow, the arrival.
Showing posts with label analogy. Show all posts
Showing posts with label analogy. Show all posts
Monday, February 28, 2011
Sunday, February 27, 2011
A New Novel, Part 147 From the Queen of the Night to Pamina
For those who haven’t been following this blog, let me introduce it a little. I am currently blogging my 21st novel that has the working title Daemon. The novel is about Aksinya, a sorceress, who, to save her family from the Bolsheviks, called and contracted the demon, Asmodeus. Her family was murdered anyway, and she fled with the demon from Russia to Austria.
Once again, Ernst is entertaining Aksinya. They go to dinner first...
They arrived at Palais Coburg Hotel Residenz and were greeted again by the bright lights and Herr Leichter. Once more, Aksinya thought she spotted Asmodeus in the mirror over the mantel in the foyer, but she did not spot him a second time so she counted it her imagination.
They ate in the Red Room again. This time, Aksinya’s dress didn’t clash with the décor. After a wonderful dinner, Ernst’s landau delivered them to the Wien State Opera. The Die Zauberflöte held Aksinya enthralled. A faint scent of sulfur touched Aksinya’s nose for a single breath, but she didn’t see the demon. Although she had drunk a little too much at supper, her mind wasn’t fuzzy at all through the opera.
At the intermission, an attendant delivered Champagne and caviar to the box. Ernst served Aksinya and then Natalya. Aksinya thirstily drank her first glass of Champagne, “Ernst, is this another comedy?”
“Yes, Countess.”
“It is all about marriage…”
“It is indeed about marriage and magic.”
“Yes, I couldn’t miss that part too. So who am I cast to be?”
Ernst poured Aksinya another glass of Champagne. Natalya frowned.
Aksinya raised her glass, “It’s all right Natalya. I’m thirsty and it matches the opera and my mood. So, who am I cast to be in this opera by Mozart?”
Ernst smiled, “Who do you wish to be?”
Aksinya took a deep breath, “I wish to be Pamina, the heroine, but I think I am The Queen of the Night.”
Ernst grinned, “If you are the Queen of the Night, then I must be the traitorous Monostatos.”
Aksinya raised her eyes to his, “You can’t be Monostatos—that role has already been cast.”
Ernst stared at her, “You aren’t kidding, are you?”
“I’m not kidding at all.”
He tried to take her hand in his, but she pulled it back at the last moment. Ernst’s appearance was very serious, “Then, I do have a rival in love?”
Aksinya giggled, “Only if I am truly the Queen of the Night.”
“I beg you not to play with my heart, Countess. I love you. I am serious…”
Aksinya sobered immediately, “I am also serious. If you wish to be my Tamino then you must find a way to transform me from the Queen of the Night to Pamina.”
Ernst grasped her hand, “Listen to me, Countess. I don’t intend to lose you to anyone in this world.”
Aksinya laughed. She couldn’t stop her laughter. It was slightly wild and uncontrolled. The other guests in the box seats next to and above and below them became silent. The audience close to them silenced. The conductor stepped across the stage and still Aksinya’s sweet laughter sang out in the suddenly quiet opera house.
Finally, Natalya put her arms around Aksinya. She whispered in her ear in Russian, “Please mistress, be quiet. You are embarrassing yourself.”
Aksinya immediately sobered. Her lips turned down. She appeared like she might cry but that lasted for only for only a moment. She turned her face to the side and pushed Natalya away.
The music started and the lights came down.
Aksinya held out her empty Champagne flute, “Ernst fill my glass and continue to fill it.”
Ernst poured the remainder of the bottle into Aksinya’s glass. He moved a little closer to her and whispered, “I’m terribly sorry. What did I say that so upset you?”
“It was nothing you said.”
“There had to be something.”
“Are you arguing with me, Herr von Taaffe.”
Ernst shut his mouth.
Aksinya sipped on her Champagne, “I will tell you this, Ernst von Taaffe. You have no idea what you desire from me or what you ask of me. You may never learn what you ask or the danger you run, but I will tell you this, nothing in this world competes against you. You have put yourself up against powers and evil that you can’t begin to imagine.”
Ernst stared directly into her eyes, “That may be so, Countess, but I swear I will overcome anything for you.”
Aksinya put her hand against his lips, “Do not swear anything in regard to me.” She turned back to the opera and held out her glass to be refilled.
In the end, Ernst had to carry Aksinya into her house. Sister Margarethe frowned at him the entire time. Ernst said nothing at all and after he placed Aksinya on her bed, he simply glanced around her room and quickly left. Sister Margarethe stepped after him to speak to him, but Natalya took her arm, “Sister, it was not his fault. He simply accommodated the Countess. She could not be reasoned with tonight.”
Sister Margarethe nodded.
Natalya continued, “See him out of the house and then come help me undress and put the Countess to bed.”
Natalya began to work the buttons on Aksinya’s gown.
You are already familiar with the Palais Coburg Hotel. I gave you a detailed description when Ernst took Aksinya there before. Therefore, I use some writing tricks to make your mind reenvision the place. Do you remember the lights, the mirror in the foyer, Herr Leichter (whose name means light). Aksinya is watching for Asmodeus. I don't have to tell you she is paranoid. She seeks him everywhere and may catch sight of him when he is not cautious--or perhaps the demon wants Aksinya to spot him.
They ate in the Red Room again. I don't have to tell you all about it a second time. I remind you through Aksinya's dress and the name of the room itself. These are details, but not important details. The important ones will soon come. Aksinya drank too much at dinner--we knew she would. At the opera house, Aksinya catches the scent of sulfur. We guess Asmodeus is around. Ernst knows the way to Aksinya's heart--he has Champagne and caviar delivered to their box again at intermission.
Aksinya asks if this opera is a comedy. It is and it is about marriage. The reason I express this point from Aksinya's lips is that you must make the connection between the conversation in the landau about Ernst's intentions, this opera, and marriage. Additionally, this opera is about magic. I couldn't have designed a more opportune opera that matches the incidents in Aksinya's life. Who might have suggested Ernst take Aksinya to this particular opera? Aksinya then throws a bomb: "So who am I cast to be?” I have given you an analogy of Aksinya within the opera. It is Aksinya's analogy. She wants to know how she stands in Ernst's mind. Aksinya has been drinking a lot. This could be dangerous in itself. Ernst doesn't answer her question immediately and that is wise. He is thinking and pouring wine. This is a very dangerous Aksinya. We have seen her in this state before. Ernst, only a little.
Still, Ernst makes a wise and suave turn to Aksinya's question:“Who do you wish to be?” The bomb starts ticking. Aksinya wishes to be Pamina (the woman who is loved and who will be married in the opera) but she knows she is the evil "Queen of the Night." Ernst's answer is humorous and again attempts to turn Aksinya's question. If Aksinya is the "Queen of the Night," then Ernst will be Monostatos. Monostatos isn't exactly a demon, but he might as well be.
That's when the bomb explodes. Aksinya makes the statement to Ernst that there is already a Monostatos in her life. The lover of the "Queen of the Night" is cast. We know exactly what she means. We know Asmodeus is Aksinya's Monostatos. Ernst takes this very seriously. To him, Aksinya is declaring she has another lover. Aksinya is trying to dissuade Ernst about marriage. Aksinya is drunk. She states exactly what she means and means exactly what she says, but her mind is free and her thoughts are free. Aksinya is the "Queen of the Night." She can't be any other. She already has a lover--Asmodeus. If you remember how Asmodeus treats the lovers of the woman he guards--think of Tobit, you will realize the problem here.
Aksinya gives Ernst the complete and true answer: "If you wish to be my Tamino then you must find a way to transform me from the Queen of the Night to Pamina.” This is the thesis of this entire Novel in the setting of an analogy of Die Zauberflöte. Ernst can't know any of this. His answer "I don’t intend to lose you to anyone in this world,” is naive and to Aksinya's drunken mind childish. But she is so desperate to become Pamina, she is near mental collapse. She is losing control. We've seen evidence before, these are more bread crumbs.
Natalya brings Aksinya back from the edge. This is not a first, but only a progression of times when Natalya had to save her mistress. For one moment, we think we might get a bit of human emotion from Aksinya, but no, not this time. This time, Aksinya recovers completely to herself. She demands more Champagne from Ernst, and Ernst tries to apologize. There is no need. He can't stop loving and worshiping her. She cuts him off--it was truly nothing Ernst said; it was the truth.
The truth embodied in Aksinya's next statement is critical in this work. It is so critical, I'll repeat it: “I will tell you this, Ernst von Taaffe. You have no idea what you desire from me or what you ask of me. You may never learn what you ask or the danger you run, but I will tell you this, nothing in this world competes against you. You have put yourself up against powers and evil that you can’t begin to imagine.” This is a statement directly in regard to Ernst's desire to marry Aksinya. He makes another mistake when he tries to swear to her. The obvious question we are left with is this: could Ernst von Taaffe have the potential power and ability to release Aksinya from her curse? That is, from her contract with Asmodeus. If you can answer this question, you will not be surprised later.
Aksinya drinks herself into unconsciousness. This is new for her but expected. This scene is not a turning point in the novel, we are still building to that. This is a strong scene where I get to use metaphor, allegory, and analogy to show you about the theme of this novel. You can see how much work I have gone to to be able to get to this point. The knowledge imparted would be nothing without all that has gone before. The revelations here are meant to prepare you for the revelations to come. The ultimate question is whether Aksinya will always be "The Queen of the Night" or will she be transformed into a Pamina? Tomorrow, Aksinya gives a lesson in love and desire.
Once again, Ernst is entertaining Aksinya. They go to dinner first...
They arrived at Palais Coburg Hotel Residenz and were greeted again by the bright lights and Herr Leichter. Once more, Aksinya thought she spotted Asmodeus in the mirror over the mantel in the foyer, but she did not spot him a second time so she counted it her imagination.
They ate in the Red Room again. This time, Aksinya’s dress didn’t clash with the décor. After a wonderful dinner, Ernst’s landau delivered them to the Wien State Opera. The Die Zauberflöte held Aksinya enthralled. A faint scent of sulfur touched Aksinya’s nose for a single breath, but she didn’t see the demon. Although she had drunk a little too much at supper, her mind wasn’t fuzzy at all through the opera.
At the intermission, an attendant delivered Champagne and caviar to the box. Ernst served Aksinya and then Natalya. Aksinya thirstily drank her first glass of Champagne, “Ernst, is this another comedy?”
“Yes, Countess.”
“It is all about marriage…”
“It is indeed about marriage and magic.”
“Yes, I couldn’t miss that part too. So who am I cast to be?”
Ernst poured Aksinya another glass of Champagne. Natalya frowned.
Aksinya raised her glass, “It’s all right Natalya. I’m thirsty and it matches the opera and my mood. So, who am I cast to be in this opera by Mozart?”
Ernst smiled, “Who do you wish to be?”
Aksinya took a deep breath, “I wish to be Pamina, the heroine, but I think I am The Queen of the Night.”
Ernst grinned, “If you are the Queen of the Night, then I must be the traitorous Monostatos.”
Aksinya raised her eyes to his, “You can’t be Monostatos—that role has already been cast.”
Ernst stared at her, “You aren’t kidding, are you?”
“I’m not kidding at all.”
He tried to take her hand in his, but she pulled it back at the last moment. Ernst’s appearance was very serious, “Then, I do have a rival in love?”
Aksinya giggled, “Only if I am truly the Queen of the Night.”
“I beg you not to play with my heart, Countess. I love you. I am serious…”
Aksinya sobered immediately, “I am also serious. If you wish to be my Tamino then you must find a way to transform me from the Queen of the Night to Pamina.”
Ernst grasped her hand, “Listen to me, Countess. I don’t intend to lose you to anyone in this world.”
Aksinya laughed. She couldn’t stop her laughter. It was slightly wild and uncontrolled. The other guests in the box seats next to and above and below them became silent. The audience close to them silenced. The conductor stepped across the stage and still Aksinya’s sweet laughter sang out in the suddenly quiet opera house.
Finally, Natalya put her arms around Aksinya. She whispered in her ear in Russian, “Please mistress, be quiet. You are embarrassing yourself.”
Aksinya immediately sobered. Her lips turned down. She appeared like she might cry but that lasted for only for only a moment. She turned her face to the side and pushed Natalya away.
The music started and the lights came down.
Aksinya held out her empty Champagne flute, “Ernst fill my glass and continue to fill it.”
Ernst poured the remainder of the bottle into Aksinya’s glass. He moved a little closer to her and whispered, “I’m terribly sorry. What did I say that so upset you?”
“It was nothing you said.”
“There had to be something.”
“Are you arguing with me, Herr von Taaffe.”
Ernst shut his mouth.
Aksinya sipped on her Champagne, “I will tell you this, Ernst von Taaffe. You have no idea what you desire from me or what you ask of me. You may never learn what you ask or the danger you run, but I will tell you this, nothing in this world competes against you. You have put yourself up against powers and evil that you can’t begin to imagine.”
Ernst stared directly into her eyes, “That may be so, Countess, but I swear I will overcome anything for you.”
Aksinya put her hand against his lips, “Do not swear anything in regard to me.” She turned back to the opera and held out her glass to be refilled.
In the end, Ernst had to carry Aksinya into her house. Sister Margarethe frowned at him the entire time. Ernst said nothing at all and after he placed Aksinya on her bed, he simply glanced around her room and quickly left. Sister Margarethe stepped after him to speak to him, but Natalya took her arm, “Sister, it was not his fault. He simply accommodated the Countess. She could not be reasoned with tonight.”
Sister Margarethe nodded.
Natalya continued, “See him out of the house and then come help me undress and put the Countess to bed.”
Natalya began to work the buttons on Aksinya’s gown.
You are already familiar with the Palais Coburg Hotel. I gave you a detailed description when Ernst took Aksinya there before. Therefore, I use some writing tricks to make your mind reenvision the place. Do you remember the lights, the mirror in the foyer, Herr Leichter (whose name means light). Aksinya is watching for Asmodeus. I don't have to tell you she is paranoid. She seeks him everywhere and may catch sight of him when he is not cautious--or perhaps the demon wants Aksinya to spot him.
They ate in the Red Room again. I don't have to tell you all about it a second time. I remind you through Aksinya's dress and the name of the room itself. These are details, but not important details. The important ones will soon come. Aksinya drank too much at dinner--we knew she would. At the opera house, Aksinya catches the scent of sulfur. We guess Asmodeus is around. Ernst knows the way to Aksinya's heart--he has Champagne and caviar delivered to their box again at intermission.
Aksinya asks if this opera is a comedy. It is and it is about marriage. The reason I express this point from Aksinya's lips is that you must make the connection between the conversation in the landau about Ernst's intentions, this opera, and marriage. Additionally, this opera is about magic. I couldn't have designed a more opportune opera that matches the incidents in Aksinya's life. Who might have suggested Ernst take Aksinya to this particular opera? Aksinya then throws a bomb: "So who am I cast to be?” I have given you an analogy of Aksinya within the opera. It is Aksinya's analogy. She wants to know how she stands in Ernst's mind. Aksinya has been drinking a lot. This could be dangerous in itself. Ernst doesn't answer her question immediately and that is wise. He is thinking and pouring wine. This is a very dangerous Aksinya. We have seen her in this state before. Ernst, only a little.
Still, Ernst makes a wise and suave turn to Aksinya's question:“Who do you wish to be?” The bomb starts ticking. Aksinya wishes to be Pamina (the woman who is loved and who will be married in the opera) but she knows she is the evil "Queen of the Night." Ernst's answer is humorous and again attempts to turn Aksinya's question. If Aksinya is the "Queen of the Night," then Ernst will be Monostatos. Monostatos isn't exactly a demon, but he might as well be.
That's when the bomb explodes. Aksinya makes the statement to Ernst that there is already a Monostatos in her life. The lover of the "Queen of the Night" is cast. We know exactly what she means. We know Asmodeus is Aksinya's Monostatos. Ernst takes this very seriously. To him, Aksinya is declaring she has another lover. Aksinya is trying to dissuade Ernst about marriage. Aksinya is drunk. She states exactly what she means and means exactly what she says, but her mind is free and her thoughts are free. Aksinya is the "Queen of the Night." She can't be any other. She already has a lover--Asmodeus. If you remember how Asmodeus treats the lovers of the woman he guards--think of Tobit, you will realize the problem here.
Aksinya gives Ernst the complete and true answer: "If you wish to be my Tamino then you must find a way to transform me from the Queen of the Night to Pamina.” This is the thesis of this entire Novel in the setting of an analogy of Die Zauberflöte. Ernst can't know any of this. His answer "I don’t intend to lose you to anyone in this world,” is naive and to Aksinya's drunken mind childish. But she is so desperate to become Pamina, she is near mental collapse. She is losing control. We've seen evidence before, these are more bread crumbs.
Natalya brings Aksinya back from the edge. This is not a first, but only a progression of times when Natalya had to save her mistress. For one moment, we think we might get a bit of human emotion from Aksinya, but no, not this time. This time, Aksinya recovers completely to herself. She demands more Champagne from Ernst, and Ernst tries to apologize. There is no need. He can't stop loving and worshiping her. She cuts him off--it was truly nothing Ernst said; it was the truth.
The truth embodied in Aksinya's next statement is critical in this work. It is so critical, I'll repeat it: “I will tell you this, Ernst von Taaffe. You have no idea what you desire from me or what you ask of me. You may never learn what you ask or the danger you run, but I will tell you this, nothing in this world competes against you. You have put yourself up against powers and evil that you can’t begin to imagine.” This is a statement directly in regard to Ernst's desire to marry Aksinya. He makes another mistake when he tries to swear to her. The obvious question we are left with is this: could Ernst von Taaffe have the potential power and ability to release Aksinya from her curse? That is, from her contract with Asmodeus. If you can answer this question, you will not be surprised later.
Aksinya drinks herself into unconsciousness. This is new for her but expected. This scene is not a turning point in the novel, we are still building to that. This is a strong scene where I get to use metaphor, allegory, and analogy to show you about the theme of this novel. You can see how much work I have gone to to be able to get to this point. The knowledge imparted would be nothing without all that has gone before. The revelations here are meant to prepare you for the revelations to come. The ultimate question is whether Aksinya will always be "The Queen of the Night" or will she be transformed into a Pamina? Tomorrow, Aksinya gives a lesson in love and desire.
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