Raoul de Chagny: Uh, so how'd you get stuck with the...
Christine Daaé: Creepy guy with the mask? Well, you know how men are. They think "No" means "Yes" and "Get lost" means "Take me, I'm yours."
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@criedshe-archive
Raoul de Chagny: Uh, so how'd you get stuck with the...
Christine Daaé: Creepy guy with the mask? Well, you know how men are. They think "No" means "Yes" and "Get lost" means "Take me, I'm yours."
I adore you as much as the nocturnal vault, o vase of sadness, 𝐌𝐎𝐒𝐓 𝐓𝐀𝐂𝐈𝐓𝐔𝐑𝐍 𝐎𝐍𝐄. I love you all the more because you flee from me, and because you appear, ornament of my nights, more ironically to multiply the leagues that separate my arms from the blue infinite. I advance to attack, and I climb to assault, like a swarm of worms after a cadaver. and I cherish, implacable and 𝐂𝐑𝐔𝐄𝐋 𝐁𝐄𝐀𝐒𝐓, even that coldness which makes you more beautiful.
— independent, private, and selective, from le fantôme de l’opéra.
fantomese.
𝐖𝐇𝐀𝐓 𝐃𝐎𝐄𝐒 𝐒𝐇𝐄 𝐒𝐄𝐄 ? the query towards him, in its silence and unpleasant vigilance, is not as simple as he would have it. she sees a man — no, not a man, a monster — holding a violin whose soul is older than his own. a creature of the night who seemed more shadow than flesh, that the taut sinews of his body and gnarled complexion had seen more of the dusk than of the dawn. an angel, who had torn his own wings apart for the sake of love, and who had plummeted down to the depths of hell in foolishness he would have lived over and over again, for a glimpse of her as he fell. a phantom, in solid form, but not tangible enough that a touch would not render him a coil of nothingness ? a man, however twisted that word sounded in his mouth ?
𝐋𝐎𝐎𝐊 𝐀𝐓 𝐇𝐄𝐑. it is a sensation like death, in parts so equal in agony and ecstasy : the flight of freedom, accompanied by the putrefaction of regret. it is not dread or excitement that causes his fingers to tremble upon the fingerboard and nearly causes him to miss the first chord, but it is a sensation foreign to him. there had been echoes of it before the court of the shah, but it had never felt this… unholy. sacrilegious, a violation of the natural order, as had been his birth and the gift of his genius. the chaconne is a hymn of the lonely, isolated, a song to be heard by the silence of a room and nothing more. could she listen, and hear ?
𝐒𝐈𝐋𝐄𝐍𝐂𝐄, 𝐓𝐇𝐄𝐍 𝐓𝐇𝐄 𝐒𝐎𝐔𝐍𝐃 𝐎𝐅 𝐀 𝐇𝐔𝐌𝐌 reverberating from deep within his throat. it is not a laugh, but the air it escapes with masquerades its scent as sweet, almost honeyed. the underworld is no place for such warmth, the same fire that spreads across his skin like brimstone at her remark. there is no throne made from flowers or perfume, only the crude bones and dissonance of him. ❝ in all my life, all I felt was the cold. ❞ a beast does not smile, but he grins, flashing teeth as a wild animal would bear it to threaten. fear is built into every machination of his movements, but he would tear himself apart and rebuild every tendon in his body if it could be made for her. ❝ then I heard you sing. ❞
𝐓𝐇𝐄 𝐘𝐄𝐀𝐑𝐒 𝐇𝐀𝐃 𝐓𝐖𝐈𝐒𝐓𝐄𝐃 𝐃𝐈𝐅𝐅𝐈𝐂𝐔𝐋𝐓𝐘 𝐀𝐖𝐀𝐘 from staves and positions, from the stops and notes. nothing remains, nothing breathes or moves within the range of death’s violin ; there is only silence and the sensation of music. each stroke shatters the air, every chord pounding and soaring, dipping bellow the clouds and down into the earth with a ferocity that the stars could not bear to witness. heaven is not the warmth of the sun or the brightness of the world ; it is here, sitting before him, golden - haired and rosy - cheeked, upon a throne that is not a throne, fearful and to whom his music serves. reality blurs into fragments that numb him, wrenching from his soul the sorrows of his heart, the rotting carcass of his grief sewn into each crease of him. eyes close, and his fingers find their way across the darkness, shifting and breathing with him, back and forth, seeking warmth, seeking solace. sighs catch — then fall, then rise, then curse, tracing along a body that with each stroke of his hands, sings in his arms. and how carnal in its misery, that song — how he wishes to bury himself in the soft satin of it, never to wake or open his eyes. what is she seeking, against his movements ? what must he find, to please her ?
her eyes settle upon him, as if trying to make out his expression --- if it could quite be called one --- for erik was always displaying a myriad of emotions; a conflicting amalgam from which it was difficult to extricate a particular feeling to focus upon. a steady course, a point that did not tempt deviance: such footholds weren’t ones christine possessed any longer, when her life was made forfeit to grief, loss, and the will of others. yet somehow she’d found one tonight, by asking him to play for her. it broke through the wall he’d erected from the day she first woke in the underground house, and showed her a glimpse of the man behind the facades he so often wore. furthermore, what she found behind it didn’t appall her: it beckoned her, like some beguiling spark beneath the ashes, glittering so dimly her eye couldn’t at first catch it. the soprano attempts to find her way through the quagmire of her emotions, and all the more difficult she finds it to keep her own expression unreadable, lest she further inspire his rage, or break the peace between them.
for whatever peace this is, it can only be a tentative one. a veil has fallen over the night, rendering the bitterness and fear she is normally keen to in a miasma that is difficult to penetrate; and truth be told, christine would rather not contemplate what she ought to feel, and would instead allow herself to be lead astray. at this moment, it is not so dreadful to be tempted. oh, mad christine ! her mind would beat against it, were it not so tired --- and perhaps it is the magic of the night, the illusion that the daylight’s cold rays would sever when she woke again in the louis-phillipe room. a frail sort of smile manifests in her mien, radiant despite the pallor surrounding it. ❛ are you cold now ? ❜ she asks him, before biting down on her tongue and regretting the query as it slips away. what is it about that voice, that terrible entity that weaves the sweetest refrains, capturing her up in a state of rapture, so that all she should want is to hear it again ?
he must be a terrifying man indeed, to wield such power over her: and yet the power is not all his, not even when she closes her eyes and allows herself to sink dangerously deeper into the music, a willing victim to the rising tide that swallows her whole. it is a soft glide against her ears, that somehow seems to trace her skin; it crawls up her spine in a tantalizingly slow melody, then swells in her chest, then plummets deep in her abdomen like a throbbing weight, the lowest of notes. as the key pitches higher and higher, so does her heart pound in her chest, until a sheen breaks out against her forehead, glimmering in the dim light of their surroundings. when she comes to, the music has stopped, and the man with a monstrous face is all that remains. christine knew that a part of his soul, however small, had returned this sacred gift she’d given him. that the power she held over him was one far more terrifying.
she cannot help her reverence for something godlike, even within this devil of a man. but nights ago, she’d seen a creature in the place of her angel --- yes, a monster. the tremulousness of his bearings now conjures a different sentiment entirely, and she can but savor the power of her knowledge and rippling current of tension in the empty air, a silky silence, as smooth as the voice that would speak, were he to. ❛ oh, that was beautiful. ❜ dread eclipses her pleasure, for the moment the music has died out, the terror of divinity, as palpable as when she’d first heard the voice, wells within her. she does not miss how he fails to find her eyes, as if separated by an unbreachable distance between them. ❛ --- and terribly sad. i cannot tell if i am more sorrowful to have heard it or to hear it stop. ❜
phantom of the opera + songs (pt 1)
@criedshe plotted.
𝐀𝐍𝐎𝐓𝐇𝐄𝐑 𝐅𝐀𝐂𝐄 𝐋𝐈𝐊𝐄 𝐀 𝐃𝐈𝐒𝐂𝐀𝐑𝐃𝐄𝐃 𝐈𝐃𝐄𝐍𝐓𝐈𝐓𝐘 𝐋𝐈𝐄𝐒 𝐅𝐋𝐀𝐓 upon the table, its empty eyes filling him with ambivalence and assuring him more of the unwanted weight of half a face now upon his own. perhaps he should be thankful that he had requested all of the bouquets of flowers he had been given to be placed in the vicinity outside of the dressing room ; only the guarneri had the right to have vibrancy within the sheltered confines of the apartment. within these walls, he feels himself foreign, but there are no mirrors to gaze back at him.
𝐇𝐈𝐒 𝐇𝐀𝐍𝐃𝐒 𝐀𝐑𝐄 𝐓𝐑𝐄𝐌𝐁𝐋𝐈𝐍𝐆. it is not that the sensation is foreign to him, after having been coated in blood and sin for years and being made to accustom himself with holding a pistol as carefully as he would any stradivarius. clenching his fingers into a fist and reopening them again does little to steel the nerves that send tremors now through his body. but unlike the fear and the sting of trepidation that would have usually accompanied him into the shadows of his lost sleep, this excitement feels dreadfully ecstatic, almost euphoric. you played the chaconne for her, and for no one else. the shock and delight of the audience could never compare to any coalescence she may have possibly felt at that moment. whether it be her dread, fluster, or the weight of misery that his affections bestowed upon her, like a sickening plague : oh, to hell with the thought that she could have never even recognised bach’s chords of sorrow. his music is meant only for her.
𝐂𝐀𝐑𝐄𝐅𝐔𝐋𝐋𝐘, 𝐅𝐈𝐍𝐆𝐄𝐑𝐒 𝐓𝐑𝐀𝐂𝐄 𝐎𝐕𝐄𝐑 𝐓𝐇𝐄 𝐋𝐈𝐍𝐄𝐒 𝐀𝐍𝐃 𝐒𝐓𝐑𝐈𝐍𝐆𝐒 of the violin when a knock sounds at the door, rousing him from whatever reverie he found himself deep in. he freezes, as if any movement from him will compromise the barrier that sets him apart from his guest, but a string of faith and a prayer is all he needs, however frail. ❝ come in. ❞ he does not regard the entrance as much as he wished to. ❝ close the door behind you. ❞
the faceless figure upon the stage had been one christine never anticipated: though there was an expectation that erik wished to introduce her to some magnificent piece or other by bringing her to the opera, his disappearance from the box seat had never brought her to imagine that he would stand before a crowd (albeit, in as much concealment as was his wont; more than she knew a performer could indeed assume.) yet if she had not held her breath so sharply before the suspicion first dawned on her, nor when it began to seem very likely indeed ------- the choice of his piece, the chaconne, and the message that was lade bare to her eyes by its selection had overwhelmed her entirely.
with her heart in her throat and her entire body seemingly trembling from the gesture, the excitement in its wake and the meaning which was imbued by every chord he played, christine wandered into the backstage when the performance was over, and in her mind’s eye ever stood the lonely, graceful figure, concealed head to toe that she had only been able to make out in careful glances. this confidence she would never have suspected of her tutor. his ways were mysterious, and yet she knew certain things to range on a spectrum from unlikely to unthinkable when it came to his gestures, decisions, and habits. there was a barrier that he never crossed, that he skirted whenever he could: the notice and attention of others. yet had he not played it artfully, like a snake charmer out of a storybook or an artist which knew every stroke he painted upon a canvas would mesmerize the proper audience ? his intentions had been deliberate, his command of the audience impressive; and yet the risk he took in baring himself rendered all the rest of it inconsequential --- for it was one he’d taken for her.
when the door opens and then shuts behind her, her eyes drift past the line of his back to the object in his hands; the empty shell of a face, and the image of him holding it is a poignant one, inspiring sorrow and other feelings she cannot name. strange, that sorrow should so fill a heart, should fill it as wholeheartedly as it does. as though she anticipated he would speak first, it takes her a moment, when her eyes lift to meet his own, to speak properly. ❛ that was you, ❜ is all she can think to say. perhaps it is enough, though she knows it to be not nearly.
Nikita Gill, from “Great Goddesses: Life Lessons from Myths & Monsters,”
Wandering Child - Ramin Karimloo, Anna O’byrne, Michael Lee (2018.05.05 POTO Concert in Korea)
fantomese:
𝐇𝐄𝐑 𝐑𝐄𝐀𝐋𝐈𝐒𝐀𝐓𝐈𝐎𝐍 𝐈𝐒 𝐍𝐎𝐓 𝐎𝐍𝐄 𝐓𝐇𝐀𝐓 𝐇𝐄 𝐃𝐈𝐃 𝐍𝐎𝐓 𝐃𝐈𝐒𝐂𝐎𝐕𝐄𝐑 for himself before ( when, instead of a comment one would have passed off as ambivalent instead of the nature of its scorn ) ; it now sounds like a praise, and one reclaimed by her tongue, within the gold of her words and ribbons of her speech. he is enraptured by it, eternally, and had been damned from the moment he had heard her speak and weep for an angel. one moment, she had thought him the greatest of celestial wonders, and then the next, the most fearsome demon from which even the darkness itself feared. had it not been his own, foolish fault ? of course it had, for who could ever learn to love the twisted creature that lived inside of him, and wanted to be held, for mere moments ?
❝ 𝐓𝐇𝐄𝐍 𝐓𝐇𝐈𝐒 𝐕𝐎𝐈𝐂𝐄 𝐈𝐒 𝐘𝐎𝐔𝐑𝐒. ❞ as is your music, as is your soul, tethered to this cruel fate and to her. the smile on his monstrous face feels wrong, as much as his heart swells with the pride of having loved another. his blood boils hot, searing the rotten flesh where it meets his neck and he nearly grimaces in response to the workings of his body. infatuated adolescents must have spent their youthful years craving such an excited response from having been told by their affections sugared words. except the words that leave her are not at all sweet nor are they viscous ; they are a poison upon which he feeds on. and it is killing him ; he will gladly let it.
𝐁𝐔𝐓 𝐓𝐇𝐄 𝐅𝐈𝐍𝐀𝐋 𝐍𝐎𝐓𝐄𝐒 𝐓𝐎 𝐓𝐇𝐈𝐒 𝐓𝐖𝐈𝐒𝐓𝐄𝐃 𝐃𝐔𝐄𝐓 𝐓𝐇𝐄𝐘 𝐁𝐎𝐓𝐇 𝐒𝐈𝐍𝐆 is one he anticipates, and one that breaks his heart ( which, to think, had already been broken time and time again ) . what could she possibly mean, in any action she chooses to present to him ? he is the man that had been her angel, the ghost that had plucked the identity of its wings, and a mask that loved her enough to watch it burn. there are no barriers between them now, save for the quiet air which will soon shatter itself into fragments of violin notes.
𝐒𝐇𝐄 𝐒𝐌𝐈𝐋𝐄𝐒, 𝐀𝐍𝐃 𝐇𝐄 𝐈𝐒 𝐋𝐎𝐒𝐓. whatever had been the plight of mortal peril is no comparison to the whimsical yet aching bliss of fear, pity, and longing that captures his lungs and closes his throat. the sensation does not give him as much dread as this moment : an anticipation for his answer. ❝ I have never played anything in pleasure for anyone else. ❞ slender hands reach over the fingerboard again, to pluck the strings with his left hand alone. ❝ perhaps bach’s chaconne, which I have only ever performed in my hours of solitude. it is a piece I find that works best after moments of silence. ❞ one follows his words and then is broken, when he raises the bow to the bridge, and plays the first chord.
that a voice so entirely uncanny, so celestial in nature and profound in its very existence, could be hers --- that his voice could be hers --- instills a solemn reverence in her reaction and a hesitance to respond: for how impossible it seems and yet genuine as he assures her ! it all but takes her breath away, and while christine cannot identify her reaction in full, she dares not speak it aloud for fear of what it could mean, and how greatly its utterance should alter all that had passed between them thus far.
she knows not what to make of the expression he bears, and through stolen glances endeavors to take it in. oh, it is difficult not to flinch ! yet were this not the case, she would endure it longer: for it is a fear of his reaction to her own that quells the desire to see beyond the tormented lines and misconstrued rendition of his physiognomy; to make more of it than what meets the eyes. the light in his eyes, hovering just above a canvas littered with grotesque strokes, causes something within her to quiver: whether in anticipation or for all that it evokes, she does not try to make sense of.
❛ surely you have had.. pleasurable experiences, of some kind, in your life. ❜ the encouragement is fragile even to her own ears, as she winces in the silence that follows. ❛ that is to say --- what i mean, is that music is comprised of our emotions. it takes more than suffering to understand its variance. ❜ that a girl once so free, so foolish and unaware of the strife the world could wreak upon its inhabitants, could understand just as much the pain that could cease its chords and halt its throes, and send them tumbling into a dirge of despair, spoke at least in part for the dichotomy of her own character. ❛ the less joy is felt, the more powerful it is when one feels it again. ❜
her eyes land on one of his hands, as they strum against the strings of the violin, it is a gesture she recognizes, one lost to time and resuscitated when she recalls it. tears well in her eyes before he even begins to play. she nods, and allows herself to be lost to the refrains of a piece she’s never heard --- that is as familiar as the feelings it inspires. what is unfamiliar is the beauty that she gleans as she watches each movement, and every line of his posture, until her eyes drift of their own accord to the head hovering above the instrument and resting lightly near the tailpiece. she swallows, with words lodged in her throat: or perhaps a breath she cannot release, for fear of drowning in the swells of grief and hope, each in their turn, as the bow moves back and forth. she discovers shadows, filling in the spaces of missing features and tissues; resting against the protrusion of a cheekbone beneath gentle lashes, etched into the facets of his temples, and riveted into compressions softer than the rest, just past the edge of his mouth.
Saw Phantom of the Opera in person about two months ago and I haven’t been able to get over it since. I also recently started reading the book which is great but a lot to unpack.
— christine daaé photographed by carla guler for chanson, november 2019 ( @criedshe )
fantomese.
𝐇𝐄𝐑 𝐖𝐎𝐑𝐃𝐒 𝐎𝐍 𝐇𝐈𝐒 𝐈𝐍𝐒𝐓𝐑𝐔𝐌𝐄𝐍𝐓 𝐏𝐔𝐋𝐋 his crooked lips into a smile that is not quite a smile, his fingers carefully plucking pizzicato notes upon the strings as he turns the pegs on the scroll as he sees fit. ❝ it was an instrument that was not made to sound pleasant. it was meant to simulate the thunder of the heavens, a voice that would sound not like that of an angel, but of a god. ❞ fugues and dirges had been made to replicate such boisterous and raucous awe, roaring in chords that would force men to gaze upwards for the absolution of demise ; and they had all been at his fingertips. ❝ but what I hope is that what I’m to play for you won’t be as dreadful as you’d deem the organ. bach’s strength — among other things — is in his versatility of composition. ❞
𝐇𝐄 𝐃𝐎𝐄𝐒 𝐍𝐎𝐓 𝐑𝐄𝐋𝐈𝐒𝐇 𝐈𝐍 𝐇𝐄𝐑 𝐅𝐄𝐀𝐑, 𝐀𝐒 𝐇𝐄 𝐔𝐒𝐄𝐃 𝐓𝐎 in viper’s nests and courts of daggers, where it was both a weapon and a rank to be had. what he feels is that festering of guilt once again, the essence of horror he feels for himself that is echoed in her eyes. glancing at her hands does recall so painful a memory of her nails digging into the flesh of his face, drawing scars of blood that now blend in horribly with the twisted sinews of his skin. to blame her for her terror was to blame the whole world for that same sin since his birth ; but as he well knows, all the love in the whole world could not compare to the touch of that heart trapped in her ribs and in the cage of her grief.
𝐀 𝐂𝐎𝐋𝐃 𝐆𝐑𝐈𝐏 𝐀𝐑𝐎𝐔𝐍𝐃 𝐓𝐇𝐄 𝐅𝐈𝐍𝐆𝐄𝐑𝐁𝐎𝐀𝐑𝐃 𝐒𝐓𝐎𝐏𝐒 𝐓𝐇𝐄𝐍 𝐓𝐈𝐆𝐇𝐓𝐄𝐍𝐒, eyes diverted to the side where the candlelight reflecting the golden sheen of her hair is but a blur in the corner of his eye. you remain the voice, and always shall. so what had he been to her ? both tutor and angel of heavenly grace and of intent that had not been so holy, the phantom whose commands that go unheeded are met with wrath, a man named erik who could not love for he had never been so truly seen. a shiver of something abhorrent crawls through his spine, making him too keenly aware of the full height his dark form had drawn himself into for the stance that a violin commands : and all for her to see, the instrument perched on his shoulder as the bow hangs in the air like a suspended baton.
𝐓𝐇𝐄𝐑𝐄 𝐈𝐒 𝐓𝐇𝐄 𝐒𝐎𝐔𝐍𝐃 𝐎𝐅 𝐀 𝐒𝐎𝐅𝐓 𝐁𝐑𝐄𝐀𝐓𝐇 and though it is not a laugh, it gives that illusion. ❝ I’m afraid that you’re right, though that has changed little since. ❞ she clings onto that shattered mirror, and though he does not know what true intentions lie in her heart of it belongs to someone else, he is a victim of the same sorrow. whatever words she would offer him — whether they were the sweet flowers of deception or the cold knife of hate — he would take them all and bury them within his chest. this poison makes fools of even ghosts of former men. ❝ the voice belongs to a cruel, wretched creature who so loves you, eternally. and one who will play for you whatever song it is you wish to hear. ❞
it has always unnerved her, to anticipate his reactions: for even as the voice, there was a vengeful nature beneath the gentle demeanor that could never hide itself fully, not even behind the persona of a heavenly spirit and every impossible pretense that ought to accompany such a guise. it was the crispness at the edges of that ethereal diction; the friction that felt nascent beyond the smooth timbre and golden vocal chords that drifted through the empty room; the current of apprehension and the thrill of something beckoning her, to rise to greater lengths and come to know the guide and guardian of her voice with increasing fervor. yes, something had always been there, calling her name and warning her in turn.
now, despite the careful posture and position he takes up, christine comes to realize that their roles have somehow altered; she can see it behind the false smile creasing misshapen lips and the way his laugh rings dully, in a voice that is nothing like his own. his fear has fallen like a veil over the room; one capable of concealing all but the barest glimpses of its subject. ❛ it is like your voice, then. ❜ she blinks, a gentle touch of lashes across soft planes, as if pondering further the realization his words have lent her. ❛ when you are angry, there is something thunderous and heavenly within it, too. ❜ she does not meet his eyes, nor make the conscious practice of doing so: such ruminations of a wandering mind are, indeed, spoken aloud like a trance pulls them forth, without consideration for their having been said at all.
perhaps he believes that she savors his weakness; that it is an assurance to see vulnerabilities exposed, and a more impressive front done away with. did he not find it preferable to fall to her knees, and beg for her love, than to tower above her and cause her to fear him ? it is a bitter memory, and tugs heavily in her throat. but looking at him now, through stolen glances that last no more than a second in passing, she nearly regrets what her curiosity has cost him. whether he deserves this mercy she doesn’t contemplate. it is easier to let him believe what he will, and ever so much harder to explain what she cannot piece together. feelings are fickle, and the man before her compelled a vast spectrum of them each time their wills entangled.
i wish you would not love me so much. surely it would be better, for the both of them, if he did not feel for her so much as he says; perhaps nothing would have happened beyond the shelter of that dressing room. she flushes beneath his gaze, as her eyes land on his chin, refusing to rise any higher. he wishes to play for her, something as intimate as the instrument prepped and anticipating her word beneath his hands, and she will not deny him that pleasure: even if she must deny him his ultimate happiness, in the end. a soft smile blooms on her lips; a smile for him. ❛ play something meaningful to you, that you’ve never played for me --- or for anyone else. ❜
fantomese.
𝐒𝐇𝐄 𝐅𝐄𝐀𝐑𝐒 𝐇𝐈𝐌. it should not come as a painful arrow to lance through him, but it does and it still shakes his hands. she could not love you, she cannot love you, not with eyes like these or a marred lip, a face like that which your own mother could never look upon in any expression that is not disgust for the monster that she bore. he turns towards the right ( and always towards the right, never towards any other direction ) , slow and calculated in movement of striding but in that way a creature may take precaution in the presence of a very clever prey.
𝐇𝐄 𝐖𝐎𝐔𝐋𝐃 𝐍𝐎𝐓, 𝐇𝐎𝐖𝐄𝐕𝐄𝐑, collate too much pride as to not admit in his own fault : that fantasy in which he relished himself in, an celestial wonder whose wings were nothing more than fabrication, simply another mask among the many he had been forced to wear. when the chandelier crashed that faithful evening, she had called out for her angel to save her, not the ghost that haunted the opera house nor the man behind both those identities. but he had hoped ! and what a foolish thing his humanity must do.
𝐇𝐈𝐒 𝐅𝐈𝐍𝐆𝐄𝐑𝐒 𝐔𝐍𝐋𝐀𝐓𝐂𝐇 𝐓𝐇𝐄 𝐕𝐈𝐎𝐋𝐈𝐍 𝐅𝐑𝐎𝐌 𝐈𝐓𝐒 𝐂𝐀𝐒𝐈𝐍𝐆, procuring a beautifully carved instrument of song and string that he can confirm with certainty sounds as elegant as it appears. ❝ what you heard was a pipe organ. its music is meant for cathedrals and great caverns ; of course you would hear its sound through the walls and by standing at doorways. ❞ there is a morbid prayer he offers that she is staring at it rather than the bits of curled and rotting flesh whose edges are slowly tilting towards her the more he moves. ❝ but this, my dear, is an instrument of intimacy. it doesn’t ask for distance, and to approach it means to revel in its beauty. ❞
𝐀 𝐌𝐎𝐑𝐁𝐈𝐃 𝐏𝐀𝐍𝐆 𝐎𝐅 𝐑𝐄𝐒𝐈𝐆𝐍𝐀𝐓𝐈𝐎𝐍 scatters any of his idle thoughts when she mentions the place of her tainted memories, and how his own touch had caused their corruption that evening when the resurrection of lazarus played through the cold seaside air. ❝ this is that very fateful violin : a folinari guarneri. it’s older than you and me both, older than this opera house and the foundations upon which it stands on. ❞ and another wave crushes his body with desolation when he realises again it is impossible for him to play without being able to face her. a nervous breath fills his lungs in a motion too stiff to be considered calm, when death’s head turns to regard her, both formed and malformed : two halves of the same cruel, selfish, monster and the gaze of which was one lost in the pangs of love. ❝ if you fear the trance you felt that evening, you mustn’t. you are here with me now, and see me for what I am. no longer does a reason exist for me to beguile you. ❞
❛ the pipe organ --- ❜ christine parrots distantly. ❛ --- oh, it sounds dreadful. ❜ she cannot help the admission; it is one as impulsive as any of the decisions she has made in the previous months, and the thought of offending this mad genius does not even dawn in her mind, nor register as a hazard best avoided. whatever sensations should have filled her to have the truth of the instrument revealed, they are silenced against the wall of numb resignation that has enveloped her.
when he turns and meets her eyes, she shudders, and endeavors to make sense of his words. if a reason no longer existed, then what had beguiled her enough to freeze her footsteps and halt her retreat ? what impossible quality had drawn her to him against the repulsive knowledge she now carried ? the living death’s head was an image she’d never be able to scour from her mind; a taint upon the innocence of eyes that had seen death in its most tangible form, watched it bleed the life force of one closest and dearest to her days, and still cowered from its outward manifestation in the lines of erik’s face ( one he said she’d never see; one she’d come to know with grotesque clarity, since. )
the mind beats against the soul, the eyes against the heart; response is lost on her tongue for want of explanation, and she struggles to conjure one when forced to look into his eyes. the mismatched monstrosity that surrounds it cannot hope to capture her attention so fully as the love within his gaze. a love that she wishes to discourage. she disentangles herself from his stare before she can fully take in the sight before her, yet she must still swallow her fear to commit this act when he is so aware with her every move and reaction. the scrutiny others have dealt, that he himself evades, is nothing to that with which he examines the emotions that splay across her face; and thus she must don a mask of her own, one of subtlety, devoid of reflex.
perhaps it is pity that drags words from nothing; but perhaps it is something more feeling. ❛ you remain the voice, ❜ she murmurs at last, in a tone with fragile edges --- willing him to understand what she cannot fully admit to; the attempt at soothing the misery, at admiring even a fraction of the bravery he displays in this act. it is one that she discerns, and cannot fault him for. ❛ and erik: i believe that you always shall. ❜
my magnum opus
fantomese.
𝐒𝐇𝐄 𝐒𝐄𝐄𝐒 𝐇𝐈𝐌 ; not simply in the sense that she regards him with a physicality that the world had never been privy to ( or that the world would never want to be privy to ) , but sees him. she had seen the monster beneath the mask, in its twisted sinews and cries of pity. she had stood too still and he did not see her face as he knelt before her as one would an angel, holding the hem of her white dress and kissing it fervently for the relic of celestial touch that it had been to him. he felt it then — an illusion of love, or something that seemed so much likened to it, and being so isolated from such a fundamental quality of humanity, he could not think himself as human without it or know what it is. he now understood the hunger that so grasped lovers, the sickness that plagued them, the worries of their mind and the longing for longing. such trivialities of the world above and their disregard for the art of music is have never been worthy of her affections, and more so a pitiful monster who could only dream.
𝐁𝐔𝐓 𝐒𝐇𝐄 𝐇𝐀𝐃 𝐒𝐇𝐎𝐖𝐍 𝐈𝐓 𝐓𝐎 𝐇𝐈𝐌, in any way she could ! she could have chosen to abhor him forever, to look upon this curse of her poor, unhappy erik and the ghost of him that haunts her dreams and her memories, but she had listened to his music ! she had stayed, and the wounds that she gives him are that of a lover’s. if they had ever been lies, they were a sweet knife and the elegance of a funeral march : a picture of morbid sorrow that would be beautiful in its misery.
𝐇𝐄 𝐇𝐄𝐀𝐑𝐒 𝐇𝐄𝐑 𝐕𝐎𝐈𝐂𝐄 — 𝐇𝐄𝐑 𝐎𝐖𝐍 𝐏𝐇𝐀𝐍𝐓𝐎𝐌 which she in turn had used to haunt him — and it is soft on wings from the doorway, riding above the thick poisonous air he blankets his abode with. it has since been purified for her sake, and only ever are actions done to compromise himself for her sake. she had taken his mask and burned it, and he had watched with ambivalent horror as the porcelain melted into nothing but liquid ash among the licking flames of the fireplace in the louis - philippe room. it was for love, and for that symphony he could never hear but would want for nonetheless.
𝐀𝐍𝐃 𝐒𝐇𝐄 𝐖𝐎𝐔𝐋𝐃 𝐋𝐈𝐒𝐓𝐄𝐍 𝐀𝐆𝐀𝐈𝐍 to that dirge of sorrow. she would like to see you, to watch the wretched form of you, and the worst act of it is that he would let himself go for it. the right side turns first, and the half face unmarred meets her gaze, the other turned away from her line of sight. the guarneri violin is placed on its stand in the middle of the room, surrounded by chairs to regard its importance, and to take it would require him to face her in order to procure it from its case. a chord of discordant fear strikes through his heart and causes its tempo to stutter. ❝ then sit. ❞ in an act too solemn for itself, he stands and fixes the lapels of his tailcoat, as if the futile action would alleviate some of the unpleasantness of his features. he would need to turn around, and he must give her the grace to brace herself for it. ❝ come closer, christine, or you will not hear me. ❞
it unnerves her, this strange and calm rendition of the creature he’d been but a few days before. time has been lost upon her, with nights or mornings beneath the ground spent in an endless and interminable lack of rest where dreams were few and far between. still, she is certain some time at least has elapsed, and yet the gruesome recollections are not like shadows that have passed them over, but are merely kept at bay. much of it relies upon her words; her responses to the cryptic enigma of the monster man before her. yet christine is beginning to realize that the monstrosity of the man is not as simple as it seems, and it grows ever harder to penetrate between the two and glimpse what lies beneath; what is real, behind the facade.
she watches him raptly, like a mouse staring into the eyes of a viper that could devour it at any second, as he turns. and oh, those eyes are enough to swallow her on their own. slowly, she makes out the edges of the side of his face that she knows is not so ghastly, yet this is only a temporary mercy; and its lapse is one she faces at her own beck and call. trepidation has no place here, and yet it is a voracious force that would overtake her if she did not spend every second of the inexhaustible pause in fighting the urge to avert her eyes. and it occurs, to her horror, that it may not so much be the visage that comes into view as the man that watches her, anticipating the reaction he’s surely known from the rest of the world all his life, that puts the pressure upon her like an indomitable weight that she fights to relinquish.
the heat burns up her neck and into her face, then flashes in her core and throughout her body as she realizes his intention. it is a hot wash of shame that douses the warm relief she’d felt in her own cleverness at the suggestion. if ever again i shiver when i look at you --- she remembers her own words and cannot bring herself to admit the rest. the words of a foolish, desperate girl, longing for some assurance to make sense of the madness, of the injustice that must have reduced the genius to a tragic soul and warped his mind to the extent of committing cruelty and deception. ❛ i can hear you from the doorway, erik. hearing you is what brought me here. ❜ an ironic statement, considering every decision that had brought her, and him, to this, to now: and while it is a halfhearted protest, she nearly brings herself to tell him to forget the whole thing; nearly flees to the safety of her chambers without a thought for him. but the silence that follows is its own answer.
christine moves to sit, and finds that the arms of the chair seem like barriers to an escape, should she need to make it. she closes her eyes for a moment, before opening them to see him shift and turn away, fixing the lines of his suit and the disarray that often formed when he spent hours upon the objective of his music. would she ever make sense of him ? part of her didn’t wish to; the other told her that this need was imperative to her eventual freedom. her eyes flit away from his towering figure and land on the instrument in the middle of the room. ❛ that is not the violin you played in perros, is it ? ❜
christine in final lair: just took a dna test turns out i’m 100%
done with that bitch *points at erik*
fantomese.
𝐇𝐈𝐒 𝐈𝐒 𝐀 𝐑𝐀𝐏𝐓𝐔𝐑𝐎𝐔𝐒 𝐅𝐋𝐈𝐆𝐇𝐓 𝐎𝐍 𝐖𝐈𝐍𝐆𝐒 𝐓𝐎𝐑𝐍 𝐀𝐒𝐔𝐍𝐃𝐄𝐑, the power of music his hands and beneath his feet : a tumultuous thunder reverberating through the walls of his home that cannot be caged by the mere earthly trappings of plaster and wood ! it yearns not to be silenced or ignored any longer, crying out from the depths of hell to touch the spires of the stars that dare not touch it. this is the very essence of a soul, so tangible to the human heart yet so invisible as to shake the air with low roars and soft sighs, and it is his eternally.
𝐇𝐈𝐒 𝐇𝐀𝐍𝐃𝐒 𝐇𝐎𝐕𝐄𝐑 𝐓𝐇𝐄𝐑𝐄 after the long sustain of an arpeggio that lingers in the miasma for more seconds than he liked ; and in the room, it touches light. it senses it, and moves towards it as the darkness both fears it and wants it. the stutter of his heart hammers against his rib cage in a sweet pain ( for it is pain that is not quite so, something rather new and unknown to him but one that aches all the same ) , echoing in the last of the pipe organ’s notes. he is still, and death’s head does not turn to regard her just yet.
𝐇𝐎𝐖 𝐂𝐎𝐔𝐋𝐃 𝐇𝐄 𝐇𝐀𝐕𝐄 𝐍𝐎𝐓 𝐁𝐄𝐄𝐍 𝐓𝐇𝐄 𝐌𝐔𝐑𝐃𝐄𝐑𝐄𝐑 of her naivety ? he is a sin to her, a dark gash across the memories that he had tainted with his own misery ; which is not so unfamiliar an image. she must know that symphony of both melancholy and ecstasy that encapsulates him is her own doing, and how he had often so dreamed of losing his mind to the throngs of it, the pangs of love that had been so cruelly ripped from him since the moment he was born. beautiful, mad christine, who holds a heart so rotten against her will and against his own, you are ruination in its most heavenly form.
𝐇𝐄 𝐂𝐀𝐍𝐍𝐎𝐓 𝐒𝐌𝐈𝐋𝐄 — 𝐍𝐎𝐓 𝐀𝐅𝐓𝐄𝐑 𝐖𝐇𝐀𝐓 𝐂𝐎𝐔𝐋𝐃 𝐇𝐀𝐕𝐄 𝐄𝐐𝐔𝐀𝐓𝐄𝐃 to another poisonous sting from her words, another reminder of the love ( or whatever it truly was she regarded him as before ) he himself had broken. so it surprises even him when a soft chuckle erupts from his chest, his deft fingers pulling the stops at the instrument’s side. ❝ I wouldn’t doubt so. your father was a talented musician, that much is true, and to abase his gifts is an offence most unworthy of him. but he was not well - versed in all its craft. ❞ you are so, you spiteful demon ; there is nothing left for you but music. at the corner of his eye, a glimpse of blonde hair is a stark contrast to the trappings of death around her, and the silence is unbearably loud for his longing to break it. ❝ my apologies, if it woke you. would you prefer I play something on your father’s instrument instead, if that should be the case ? ❞
how strange it is to stand in the doorway, looking on as he plays the organ; a darker incarnation of this scenario repeats in her mind, the hissed words and humiliated cries as loud as her own inward mantra ( horror, horror, horror ! ) it is not precisely the same sensation that fills her now: although she is always aware that he could, at any second, frighten her once more; such was the unpredictability and mania of the tortured genius that had spirited her away. like walking on the shells of eggs or shifting about wet sand, christine was aware of how easy --- how dreadfully easy --- it would be, to sink back into the embrace of her former ignorance and let the music wash away her knowledge, her memories, and bring whatever ephemeral comfort it could.
this is why she hesitates, and why the first response to his question that beats in her soul is no. never again, never will the fractured memories of her father be further desecrated by a lie. but curiosity is just as impetuous as her resolve, and were it not for the fact that she hadn’t an inkling of when she would, once more, be free from his grasp and subsisting on her own terms in the world that waited above, that had perhaps gone on without anticipating her return to it, christine would not be considering his offer. ❛ you didn’t wake me. ❜ there is bitterness lacing the words: had the man truly come to believe it was easy for her to sleep ? no, not since the first day she’d come.
and it is a reminder, when she considers the ramrod back and rigid shoulders of his before the organ, of what lies, blessedly, beyond her sight. christine hasn’t told him of her trouble seeing things that are distant enough, nor let him in on how little of a sacrifice it truly had been for her to burn his mask. show me your face without fear, she’d said, but the risk of that fear had never been much of her own. he would believe for every minute that passed in her presence that she was seeing more of him, more poignantly and painfully than she truly did. a misshapen blur, instead, filled her periphery more often than not; and yet, it was enough to unsettle her, to bring the familiar rise of bile to her throat, the quickstep of her heartbeat, as though afraid he would again draw near, clutch her hands in his own and drag them across his horrid skin.
❛ yes, ❜ she says, noting the incline of his head that registers a surprise he will never admit to, nor perceive that she has come to notice so clearly. ❛ yes, erik: i would like to see you play. ❜ this is a challenge, one she knows he will discern: a declamation of his method of hiding away in the crypt and deceiving her with the sweet, sorrowful refrains of the violin, while she’d believed an angel had reproduced a sound she’d hear nevermore. the girl may have jumped at shadows, but the woman welcomes them.
anyways an explanation: i’ve been inactive on rp since sometime between april-june when i got a new job and then prepared for and started my freshman year of college this fall. that means it’s been about five months since i’ve been around much and i’m only just now having my homework become more manageable since the quarter ends in a few weeks. i’m currently looking for a new job because there’s a lot of drama where i work now, and i don’t know how long i’ll be that active, but i want to revamp this blog in the meantime for some low activity use and also set up a new blog so i can get back into roleplay. i won’t be keeping any threads from last summer here and i probably won’t be that much of a writer on this blog, but i have to have a phantom outlet of some kind, ya feel.