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.
Natalya is missing. Sister Margarethe believes Aksinya sent her on an errand. Natalya has been absent all night. In her bedroom, Aksinya smelled the scent of incense and sulfur. The incense is from a great sorcery, and the sulfur from Asmodeus...
After breakfast, Sister Margarethe dressed Aksinya and brushed her hair. She didn’t notice the strange expression on Aksinya’s face. She didn’t see how pale she was or how wide and frightened her eyes were. Or, if she did, perhaps she attributed it to the alcohol and lack of sleep.
Aksinya was ill during chapel and vomited before Sister Margarethe could rush her into the hallway outside. Sister Margarethe tried to comfort her and brought her tea before class, but the tea was not made to Aksinya’s taste, and Aksinya was in no mood to be comforted. By the time, she arrived at her first class, her hair was loose around her face and her clothing had spots from her accident and from the tea she spilled. She put her head down on her desk and tried to sleep. She couldn’t do anything else, Sister Margarethe had forgotten Aksinya’s bag. It was the bag Nata always carried for her. The bag had all her school books and papers inside.
Finally, in the late morning, Natalya opened the classroom door. Someone touched Aksinya’s arm, and she raised her head. Aksinya’s eyes widened. She stood at her desk and nearly fell. She started toward Natalya and did fall. She tripped on the desk and dropped to one knee. Natalya was instantly beside her. She took Aksinya’s arms and lifted her up. Aksinya put her arms around Natalya and held her close. Her eyes widened again—there was that smell plus another. There was the scent of sorcery and a strange musty smell Aksinya couldn’t place. Aksinya pulled back slightly from Natalya and stared at her. Natalya lowered her eyes. She led Aksinya back to their desks. Natalya straightened Aksinya’s hair and brushed off her clothing.
Natalya didn’t say anything to her, and Aksinya was afraid to ask anything.
That evening at dinner in the dinning room at Sacré Coeur, the moment after Reverend Mother Kluge finished praying Anna Pfaff asked, “Well, did Herr von Taaffe take you out last night?”
Aksinya didn’t answer.
Natalya replied in very precise German, “He took her to Tristan und Isolde by Wagner. It was a tragedy.”
Frieda Trauen scrunched her lips to the side, “I wanted to see that, but papa wouldn’t take me.”
Fraulein Pfaff took a sip of soup, “Whyever not, Frieda?”
“He said it was too German.”
Natalya laughed.
Diedre Vogt tried to catch Aksinya’s eyes, “Countess, have you considered what you might answer Herr von Taaffe?”
Aksinya turned her head away.
Fraulein Trauen grinned, “Did you have a fight with him?”
Natalya voice sounded too happy, “She was drunk last night.”
Fraulein’s Trauen’s smile widened, “Too drunk to fight. What kind of wife will Herr von Taaffe get for himself.”
Natalya took a bite of her fish course, “Herr von Taaffe knows exactly the kind of wife he will be getting.”
Aksinya didn’t act as if she heard. She didn’t eat. The moment dinner was over, she stood and made her way back out of the dining room. Natalya followed closely behind her.
Aksinya has literally given up all hope at this moment. She has lost her best and really only friend in the world. Natalya is missing, and Aksinya knows it was somehow by the hand of Asmodeus. She knows something terrible is happening or about to happen, she can't imagine what it might be.
I want you to see Aksinya at this moment. I want you to imagine exactly what she appears like. The first description I give you is obliquely through Sister Margarethe's eyes. I use an advanced technique that doesn't change POV, but implies the POV of another. This is the description: She [Sister Margarethe] didn’t notice the strange expression on Aksinya’s face. She didn’t see how pale she was or how wide and frightened her eyes were. You can imagine Aksinya's face. She isn't pretty to begin with, add sickly and pitiful to that description--and she doesn't care anymore.
To add to the description of the sad-eyed Aksinya, she is ill at chapel. This is the first time I have actually said she vomited. I use this word intentionally for the shock value, so you feel like Aksinya, and to separate this incident from all the times Aksinya depended on Natalya to take care of her. Sister Margarethe is trying to help, but it isn't the same. Aksinya's attitude is hopeless and perhaps not as childish as we might think. Remember the admonition over the Gates of Dante's hell: abandon all hope ye who enter here. Aksinya has seen hell, and she believes her friend is facing some hell because of her.
The final descriptions are about Aksinya's hair and her clothing. Natalya always made certain Aksinya looked and dressed properly. Aksinya is like a kindergartner; she is unable to take care of her own dressing and clothing. In class, Aksinya has nothing to do--Sister Margarethe forgot Aksinya's bag.
Then, the return of Natalya. I intentionally downplay the beginning to add to the poignancy at the end. Notice, someone touches Aksinya's arm to alert her--others in the classroom also realize how important Natalya is to Aksinya. Note, Aksinya tries to come to Natalya. Always before, Natalya came to Aksinya. Aksinya trips otherwise, she would have run to Natalya. Something has radically changed in this dynamic. Natalya lifts up Aksinya--this is an expected outcome.
At their meeting I give you some very important details that have to do with scent: the scent of sorcery and the scent of... I describe it as musky. You might guess what this smell is. Aksinya hasn't any idea what it could be. Aksinya shows surprise, but Natalya won't look her in the eye. Then, Natalya leads Aksinya back to their desks. Natalya makes Aksinya look presentable again. Natalya doesn't say anything and Aksinya is afraid to ask. In our minds and Aksinya's mind, we wonder, what terrible thing could have happened to Natalya--she doesn't appear the worse for wear.
The transition is to dinner. Here I want to show you more of this new dynamic between Aksinya and Natalya. Anna, our romantic, asks about Aksinya's evening. Aksinya is still in the mode of hopelessness. She will not respond, but look who answers for her--Natalya. Listen to the tone: “He took her to Tristan und Isolde by Wagner. It was a tragedy.” Remember, I told you each opera and ballet are metaphors for Aksinya's life. If you know Tristan und Isolde, you know what might have happened. Listen to the conversation. Fraulein Trauen's father wouldn't take her because it was too German. This is an Austrian joke. It means that it was too dour. We can guess that the prudish Fraulein Trauen's father didn't want his daughter to see the adultery in the opera. Tristan und Isolde is considered an adult opera especially for the time.
Natalya's response: she laughed. The conversation returns to Aksinya. Fraulein Trauen baits Aksinya: “Did you have a fight with him?” And Natalya answers for Aksinya and there is deep irony in her answers. Fraulein Trauen: "What kind of wife will Herr von Traaffe get for himself.” Natalya's response sounds like a threat: “Herr von Taaffe knows exactly the kind of wife he will be getting.”
Aksinya does not respond. She does not react. She ignores them all. Though Natalya has returned, there is no hope for Aksinya. Tomorrow, the return of hope?
Showing posts with label opera. Show all posts
Showing posts with label opera. Show all posts
Tuesday, March 22, 2011
Thursday, March 17, 2011
A New Novel, Part 165 I Shall Answer You on Monday Next
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.
Aksinya, Natalya, and the Bockmanns are at Steiholtz, the estate of Ernst's Father. Ernst proposed to Aksinya, but she could not make a decision. Still, he kissed her and that excited her mind and body. She wakes on the first day of 1919...
When Aksinya awoke in the late morning, her first thought was the kiss that still excited her imagination and seemed to tingle on her lips. It tempted her and excited her. In spite of a headache, her body was much more responsive now, and she felt less frustrated afterward. She slowly fell back to sleep. Natalya finally woke her near noon.
Natalya had her hands full dressing and preparing the sleepy Aksinya for their departure. The two maids from the evening helped, and together, they assisted the Countess down to the dining room for breakfast. Everyone else had already eaten breakfast and luncheon, and Aksinya took her time. She insisted Natalya eat with her. Ernst was conspicuously absent.
When Aksinya finished her third cup of tea, Natalya was able to bundle her off to the front of the house where the Bockmanns and their coupe awaited them. All their small trunks had been loaded on the coupe and the driver stood ready to assist them into the cab.
Aksinya met the Bockmanns in the great foyer. Freiherr Bockmann bowed to Aksinya, and Freifrau Bockmann curtsied. She took Aksinya’s hand, “Good morning, Countess.”
Aksinya gave a slight nod. That made her head ache.
Just as they were about to pass through the main doors, the Graf von Taaffe came out of a side opening. He was followed closely by Ernst. The Graf tilted his head toward Aksinya, “Good morning, Countess. I pray you slept well.”
Aksinya cleared her throat, “As well as I could after drinking so much.”
The Graf smiled, “Do you have an answer for me and Ernst this morning?”
“I have not had the opportunity to put my mind fully to the question, yet. I will to give an answer in one week, on the Monday following this next.”
The Graf rubbed his chin, “Very good and very well said. I do like the way you plan, Countess. I still wish you would accept the ring.”
“Ring!” squawked Freifrau Bockmann.”
Aksinya raised her eyes to her aunt’s, “Ernst von Taaffe has made me an offer of matrimony. I am contemplating his proposal.”
Ernst stepped forward, “I have met my father’s requirements, and I hope I meet yours as well, Aksinya.”
Aksinya gave him a look that could melt any man’s heart.
Natalya scowled.
Ernst continued, “I’ll pick you up at our regular time for dinner on Wednesday evening.”
Aksinya asked, “What shall we see?”
“The opera is Tristan und Isolde by Wagner. It is a tragedy.”
Graf von Taaffe laughed, “You may kiss Ernst good bye if you wish.”
Aunt Brunhilda put up her hand, “She shall not. A handshake at this juncture is more than appropriate.”
Aksinya pursed her lips. Natalya smiled.
Ernst took Aksinya’s hand and bowed over it.
Aunt Brunhilda commented, “Yes, very nice, Herr von Taaffe.”
When she passed her aunt, Aksinya snarled, “I would have rather had a kiss.”
They stepped into the coupe and the driver started out toward Wien and Grossbock.
Setting the scene is the most important part of the beginning of any chapter. Just as important is setting the chapter. This is the beginning of chapter 14. I use some advanced writing techniques to set the scene for you. The first one, is that I use a direct comparison to place you back in the place we were at the end of chapter 13. At the end of that chapter, Aksinya was in bed trying to pleasure herself. At the beginning of this chapter she is in bed under the same circumstances. This immediately draws the reader back to the place with the new time marker--it is morning.
That's all I really need to set the place, time, and person--the where, when, and who. This single paragraph also sets the chapter. That is its ultimate purpose. You know from this paragraph that this chapter will deal with Aksinya' s passions and desires. There is more, of course, but the point is to give the reader a foreshadowing and foretaste of the chapter.
The next paragraph that describes taking care of Aksinya just reinforces both the scene and chapter setting. Aksinya is at her morning worse. This is a continual motif. Aksinya is acting like a brat, but it isn't just her bad habits--it is her position in life.
The next short transition uses description to show you that everything is ready for departure. While Aksinya slept, everyone else was preparing to leave. The Bockmanns still are courteous to Aksinya--she is a Countess. When Aksinya nods, that makes her head ache--this lets me show you that she has a hangover.
As Aksinya, Natalya, and the Bockmanns are about to depart, the Graf and Ernst make their appearance. The Graf is polite, but his second question is what he really wants to know: “Do you have an answer for me and Ernst this morning?” Aksinya has obviously thought much about this. She doesn't hesitate and tells the Graf that she will give her answer in one week.
The Graf's response to Aksinya alerts the Freifrau. She understands very well what a ring means. Aksinya fills them all in. I also remind you of Aksinya's diminutive size here also. Ernst can't help but remind Aksinya of what he has gone through to be able to ask her to marry him. Aksinya doesn't note any irony in Ernst's words, she accepts them as forthright--therefore the look she gives him. I can't let you forget that Natalya is not happy with any Ernst arrangement.
Ernst is still courting. He loves Aksinya. He will pick her up at their regular time on Wednesday. Aksinya asks what they will see. This is a set up for you. The opera is Tristan and Isolde. It is not only a tragedy, it is about a love triangle that was a precursor to King Aurther. Every opera and ballet they have seen that I mentioned were direct parallels to Aksinya's life. What shall this one be?
The Graf remembers from the night before that Aksinya wished to kiss Ernst longer, thus his words that Aksinya may kiss Ernst. This is too froward and Aunt Brunhilda reminds them. That makes Aksinya uphappy and Natalya happy. Did you get that?
Ernst acts the gentleman and that pleases Aunt Brunhilda. It doesn't please Aksinya. She wanted a kiss. The party heads back to Wien. Tomorrow, the arrival at Wien.
Aksinya, Natalya, and the Bockmanns are at Steiholtz, the estate of Ernst's Father. Ernst proposed to Aksinya, but she could not make a decision. Still, he kissed her and that excited her mind and body. She wakes on the first day of 1919...
When Aksinya awoke in the late morning, her first thought was the kiss that still excited her imagination and seemed to tingle on her lips. It tempted her and excited her. In spite of a headache, her body was much more responsive now, and she felt less frustrated afterward. She slowly fell back to sleep. Natalya finally woke her near noon.
Natalya had her hands full dressing and preparing the sleepy Aksinya for their departure. The two maids from the evening helped, and together, they assisted the Countess down to the dining room for breakfast. Everyone else had already eaten breakfast and luncheon, and Aksinya took her time. She insisted Natalya eat with her. Ernst was conspicuously absent.
When Aksinya finished her third cup of tea, Natalya was able to bundle her off to the front of the house where the Bockmanns and their coupe awaited them. All their small trunks had been loaded on the coupe and the driver stood ready to assist them into the cab.
Aksinya met the Bockmanns in the great foyer. Freiherr Bockmann bowed to Aksinya, and Freifrau Bockmann curtsied. She took Aksinya’s hand, “Good morning, Countess.”
Aksinya gave a slight nod. That made her head ache.
Just as they were about to pass through the main doors, the Graf von Taaffe came out of a side opening. He was followed closely by Ernst. The Graf tilted his head toward Aksinya, “Good morning, Countess. I pray you slept well.”
Aksinya cleared her throat, “As well as I could after drinking so much.”
The Graf smiled, “Do you have an answer for me and Ernst this morning?”
“I have not had the opportunity to put my mind fully to the question, yet. I will to give an answer in one week, on the Monday following this next.”
The Graf rubbed his chin, “Very good and very well said. I do like the way you plan, Countess. I still wish you would accept the ring.”
“Ring!” squawked Freifrau Bockmann.”
Aksinya raised her eyes to her aunt’s, “Ernst von Taaffe has made me an offer of matrimony. I am contemplating his proposal.”
Ernst stepped forward, “I have met my father’s requirements, and I hope I meet yours as well, Aksinya.”
Aksinya gave him a look that could melt any man’s heart.
Natalya scowled.
Ernst continued, “I’ll pick you up at our regular time for dinner on Wednesday evening.”
Aksinya asked, “What shall we see?”
“The opera is Tristan und Isolde by Wagner. It is a tragedy.”
Graf von Taaffe laughed, “You may kiss Ernst good bye if you wish.”
Aunt Brunhilda put up her hand, “She shall not. A handshake at this juncture is more than appropriate.”
Aksinya pursed her lips. Natalya smiled.
Ernst took Aksinya’s hand and bowed over it.
Aunt Brunhilda commented, “Yes, very nice, Herr von Taaffe.”
When she passed her aunt, Aksinya snarled, “I would have rather had a kiss.”
They stepped into the coupe and the driver started out toward Wien and Grossbock.
Setting the scene is the most important part of the beginning of any chapter. Just as important is setting the chapter. This is the beginning of chapter 14. I use some advanced writing techniques to set the scene for you. The first one, is that I use a direct comparison to place you back in the place we were at the end of chapter 13. At the end of that chapter, Aksinya was in bed trying to pleasure herself. At the beginning of this chapter she is in bed under the same circumstances. This immediately draws the reader back to the place with the new time marker--it is morning.
That's all I really need to set the place, time, and person--the where, when, and who. This single paragraph also sets the chapter. That is its ultimate purpose. You know from this paragraph that this chapter will deal with Aksinya' s passions and desires. There is more, of course, but the point is to give the reader a foreshadowing and foretaste of the chapter.
The next paragraph that describes taking care of Aksinya just reinforces both the scene and chapter setting. Aksinya is at her morning worse. This is a continual motif. Aksinya is acting like a brat, but it isn't just her bad habits--it is her position in life.
The next short transition uses description to show you that everything is ready for departure. While Aksinya slept, everyone else was preparing to leave. The Bockmanns still are courteous to Aksinya--she is a Countess. When Aksinya nods, that makes her head ache--this lets me show you that she has a hangover.
As Aksinya, Natalya, and the Bockmanns are about to depart, the Graf and Ernst make their appearance. The Graf is polite, but his second question is what he really wants to know: “Do you have an answer for me and Ernst this morning?” Aksinya has obviously thought much about this. She doesn't hesitate and tells the Graf that she will give her answer in one week.
The Graf's response to Aksinya alerts the Freifrau. She understands very well what a ring means. Aksinya fills them all in. I also remind you of Aksinya's diminutive size here also. Ernst can't help but remind Aksinya of what he has gone through to be able to ask her to marry him. Aksinya doesn't note any irony in Ernst's words, she accepts them as forthright--therefore the look she gives him. I can't let you forget that Natalya is not happy with any Ernst arrangement.
Ernst is still courting. He loves Aksinya. He will pick her up at their regular time on Wednesday. Aksinya asks what they will see. This is a set up for you. The opera is Tristan and Isolde. It is not only a tragedy, it is about a love triangle that was a precursor to King Aurther. Every opera and ballet they have seen that I mentioned were direct parallels to Aksinya's life. What shall this one be?
The Graf remembers from the night before that Aksinya wished to kiss Ernst longer, thus his words that Aksinya may kiss Ernst. This is too froward and Aunt Brunhilda reminds them. That makes Aksinya uphappy and Natalya happy. Did you get that?
Ernst acts the gentleman and that pleases Aunt Brunhilda. It doesn't please Aksinya. She wanted a kiss. The party heads back to Wien. Tomorrow, the arrival at Wien.
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.
Saturday, February 19, 2011
A New Novel, Part 139 Coppellia and the Dower Russian Girl
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.
Aksinya, Ernst, and Natalya finished their dinner at the Palais Coburg Hotel. I didn't end the last chapter with a kicker--I just gave you a partial transition. The rest of the transition and the setting for chapter 12 begins...
The landau drove them only a few blocks away to the Wien State Opera. The building was large and classical. It wasn’t as brightly lit as the Palais Coburg Hotel Residenz. The gaslights flickered in the chill breeze. Ernst escorted Aksinya into the building. When they entered, Aksinya wobbled a little shakily on her feet. She held tightly to Ernst’s arm, and almost fell when she entered the enormous foyer. She almost lost her feet again near the center of the large entranceway. Aksinya whirled when she thought she spotted Asmodeus in the crowd, but immediately lost sight of him. Ernst clasped her arm tightly under his and kept her from falling. Natalya steadied her. She followed right behind Aksinya. Ernst took care of their coats. He led Aksinya to a box seat. She finally concluded that she was unsteady on her feet from the wine at supper, so she held even more tightly to Ernst’s arm so she wouldn’t stumble. Ernst seated her and then Natalya. He took the chair between them both.
As though the ballet master waited just for them, at that moment, the lights dimmed and the conductor walked across the stage and climbed into the orchestra pit. Aksinya leaned forward and held the side of the rail. She kept a tight grip on her flowers.
The music started. It was bright and melodic. Aksinya was entranced. Ernst propped his elbows on the top of the rail. His face was close to hers, “I didn’t tell you the ballet we are going to see. It is Coppellia and a comedic ballet.”
Aksinya kept her eyes on the stage, “A ballet that is a comedy. I didn’t know there was such a thing.”
“Ah, you Russians are so dower. I can’t remember a Russian comedy.”
“Do you think I am dower?”
“You are entirely too serious, but I find that engaging in you. I have never met a serious woman before.”
Aksinya’s eyes moved toward his face, “I would indeed like to be taken seriously. I am a serious woman.”
“Also a dangerous woman.”
“I don’t wish to be thought a dangerous woman.”
“But you are. That makes your seriousness necessary.”
“Or, I am just dower. What is this Coppellia about?”
Ernst turned his face toward hers. Aksinya kept her eyes on the stage and orchestra. He laughed, “It is a story about an old man, Dr. Coppellia, who tries to use magic to give life to a mechanical woman.”
“Does he succeed?”
“No. He believes he has, but in the end it is all a trick. At the conclusion, the young fool does marry the wonderful and smart heroine. A match between a serious girl and a frivolous boy.”
Aksinya mumbled, “I am like the old man. I have made a terrible thing.”
“You said, Countess?”
“Nothing. I said nothing…”
Ah, I love contrasts--especially those that we find in real life. I like to point them out. In my writing, I hope you find them like pearls. I don't need to describe the landau to you again. I do describe the Wien State Opera, but I do it through contrasts and comparison. The building is large and classical (so was the Palais Coburg). The difference is the lighting, and in the night, that is the only real difference that matters. I give you the sense of the gaslights because that is a little creepy and you can feel both the chill and the darkness.
Then, we get to Aksinya. At dinner, she was becoming happily drunk. I don't tell you this--I show you this. I show you just how drunk she is and then drop a grenade into the group. She spots Asmodeus again, this time at the State Opera house, but then quickly loses sight of him. She didn't notice the smell of sulphur. We are left unsure. We are as uncertain as Aksinya--is Asmodeus really there or not? Aksinya is so tipsy, how could she be certain of anything. She even held more tightly to Ernst after she finally figured out she had drunk too much. I'll bet Ernst loved that. Ernst is quite the gentleman to gently handle a slightly tipsy noble woman.
The ballet starts and Aksinya can't hide her excitement. I don't tell you any of this--you see it in the character. Look at how she leans forward and clings to the bouquet. Ernst moves to come closer to Aksinya, then he finally tells her the name of the ballet--Coppellia. I don''t have to tell you about the ballet, Ernst does that for Aksinya, and you get to listen along. All the ballets and operas that Aksinya and Ernst attend are very important to the theme of this novel. The ensuing conversation about the seriousness of Russian entertainment is spot on. In all the world, there are few comedic ballets. The Russians have only one of note--the Nutcracker, and that one isn't all that encouraging. At least the heroine doesn't die.
The undercurrent of Aksinya and Ernst's conversation is very important. Remember Aksinya is slightly drunk. She is uninhibited. The tongue in cheek conclusion from Ernst is that she is a dangerous woman. This can be easily deconstructed. Aksinya is dangerous because of her sorcery. She is also dangerous because she tempts Ernst--and she is drunk. We know all about how dangerous Aksinya really is, but Ernst really has no idea how dangerous this young woman is.
Coppellia is a fun, romantic ballet. I know a lot about it because I've played Dr. Coppellia more than once. Each of the ballets and operas Ernst takes Aksinya to parallel the problems in her own life. I don't need to tell you, Ernst is being coached by Asmodeus. I don't tell you this directly anywhere--I hint at it. Ernst's knowledge and choices are too close to home every time.
The plot of Coppellia is just as Ernst explains. In it, Dr. Coppellia tries to use magic to bring the doll Coppellia to life. In this novel, Aksinya used sorcery to give life to a demon. Coppellia is almost an exact parallel to Aksinya's life. The difference is that Coppellia is a farce, and Dr. Coppellia fails to bring forth useful magic or a mechanical woman. Aksinya, on the other hand, succeeded too well. The parallel between Coppellia's serious girl and frivolous boy shouldn't surprise you. Aksinya is the serious girl and Ernst, the frivolous boy. The parallels are not lost on Aksinya--in her inhibition, she mumbles the truth: "I have made a terrible thing.". Tomorrow, Coppellia and caviar.
Aksinya, Ernst, and Natalya finished their dinner at the Palais Coburg Hotel. I didn't end the last chapter with a kicker--I just gave you a partial transition. The rest of the transition and the setting for chapter 12 begins...
The landau drove them only a few blocks away to the Wien State Opera. The building was large and classical. It wasn’t as brightly lit as the Palais Coburg Hotel Residenz. The gaslights flickered in the chill breeze. Ernst escorted Aksinya into the building. When they entered, Aksinya wobbled a little shakily on her feet. She held tightly to Ernst’s arm, and almost fell when she entered the enormous foyer. She almost lost her feet again near the center of the large entranceway. Aksinya whirled when she thought she spotted Asmodeus in the crowd, but immediately lost sight of him. Ernst clasped her arm tightly under his and kept her from falling. Natalya steadied her. She followed right behind Aksinya. Ernst took care of their coats. He led Aksinya to a box seat. She finally concluded that she was unsteady on her feet from the wine at supper, so she held even more tightly to Ernst’s arm so she wouldn’t stumble. Ernst seated her and then Natalya. He took the chair between them both.
As though the ballet master waited just for them, at that moment, the lights dimmed and the conductor walked across the stage and climbed into the orchestra pit. Aksinya leaned forward and held the side of the rail. She kept a tight grip on her flowers.
The music started. It was bright and melodic. Aksinya was entranced. Ernst propped his elbows on the top of the rail. His face was close to hers, “I didn’t tell you the ballet we are going to see. It is Coppellia and a comedic ballet.”
Aksinya kept her eyes on the stage, “A ballet that is a comedy. I didn’t know there was such a thing.”
“Ah, you Russians are so dower. I can’t remember a Russian comedy.”
“Do you think I am dower?”
“You are entirely too serious, but I find that engaging in you. I have never met a serious woman before.”
Aksinya’s eyes moved toward his face, “I would indeed like to be taken seriously. I am a serious woman.”
“Also a dangerous woman.”
“I don’t wish to be thought a dangerous woman.”
“But you are. That makes your seriousness necessary.”
“Or, I am just dower. What is this Coppellia about?”
Ernst turned his face toward hers. Aksinya kept her eyes on the stage and orchestra. He laughed, “It is a story about an old man, Dr. Coppellia, who tries to use magic to give life to a mechanical woman.”
“Does he succeed?”
“No. He believes he has, but in the end it is all a trick. At the conclusion, the young fool does marry the wonderful and smart heroine. A match between a serious girl and a frivolous boy.”
Aksinya mumbled, “I am like the old man. I have made a terrible thing.”
“You said, Countess?”
“Nothing. I said nothing…”
Ah, I love contrasts--especially those that we find in real life. I like to point them out. In my writing, I hope you find them like pearls. I don't need to describe the landau to you again. I do describe the Wien State Opera, but I do it through contrasts and comparison. The building is large and classical (so was the Palais Coburg). The difference is the lighting, and in the night, that is the only real difference that matters. I give you the sense of the gaslights because that is a little creepy and you can feel both the chill and the darkness.
Then, we get to Aksinya. At dinner, she was becoming happily drunk. I don't tell you this--I show you this. I show you just how drunk she is and then drop a grenade into the group. She spots Asmodeus again, this time at the State Opera house, but then quickly loses sight of him. She didn't notice the smell of sulphur. We are left unsure. We are as uncertain as Aksinya--is Asmodeus really there or not? Aksinya is so tipsy, how could she be certain of anything. She even held more tightly to Ernst after she finally figured out she had drunk too much. I'll bet Ernst loved that. Ernst is quite the gentleman to gently handle a slightly tipsy noble woman.
The ballet starts and Aksinya can't hide her excitement. I don't tell you any of this--you see it in the character. Look at how she leans forward and clings to the bouquet. Ernst moves to come closer to Aksinya, then he finally tells her the name of the ballet--Coppellia. I don''t have to tell you about the ballet, Ernst does that for Aksinya, and you get to listen along. All the ballets and operas that Aksinya and Ernst attend are very important to the theme of this novel. The ensuing conversation about the seriousness of Russian entertainment is spot on. In all the world, there are few comedic ballets. The Russians have only one of note--the Nutcracker, and that one isn't all that encouraging. At least the heroine doesn't die.
The undercurrent of Aksinya and Ernst's conversation is very important. Remember Aksinya is slightly drunk. She is uninhibited. The tongue in cheek conclusion from Ernst is that she is a dangerous woman. This can be easily deconstructed. Aksinya is dangerous because of her sorcery. She is also dangerous because she tempts Ernst--and she is drunk. We know all about how dangerous Aksinya really is, but Ernst really has no idea how dangerous this young woman is.
Coppellia is a fun, romantic ballet. I know a lot about it because I've played Dr. Coppellia more than once. Each of the ballets and operas Ernst takes Aksinya to parallel the problems in her own life. I don't need to tell you, Ernst is being coached by Asmodeus. I don't tell you this directly anywhere--I hint at it. Ernst's knowledge and choices are too close to home every time.
The plot of Coppellia is just as Ernst explains. In it, Dr. Coppellia tries to use magic to bring the doll Coppellia to life. In this novel, Aksinya used sorcery to give life to a demon. Coppellia is almost an exact parallel to Aksinya's life. The difference is that Coppellia is a farce, and Dr. Coppellia fails to bring forth useful magic or a mechanical woman. Aksinya, on the other hand, succeeded too well. The parallel between Coppellia's serious girl and frivolous boy shouldn't surprise you. Aksinya is the serious girl and Ernst, the frivolous boy. The parallels are not lost on Aksinya--in her inhibition, she mumbles the truth: "I have made a terrible thing.". Tomorrow, Coppellia and caviar.
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