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Irma Vep - Lamma Sabacthani; The Sacrificial Lamb.

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Further Tales of Wickedness and Deviltry Perpetrated by Sensual Succubus - Irma Vep.
 

Herein Divulged: Her Penchant For the Purloinment of Jewelry Items; Shocking Acts of Criminal Deviancy; and Profane Murder Most Macabre!  

”Mes yeux deux beniners ardents  

Le diable a mis ses doigts dedans”
 

”My eyes two burning holy-water fonts  

The devil put his finger inside”
 

-Tristan Corbiere (1873)  

(I)


She darts and weaves;  

Flits between the gargoyles  

Guarding crenellated towers  

Of looming ziggurats.  

Sepulchral stalagmites of barbed gothic spires  

Shoot steepled fangs upwards  

To pierce Heaven;  

And impale the heart of God.
 

And Godless humankind  

Wander numb with bovine tread  

The gaslit streets below.  

Asleep in hives of masonry,  

Loitering in nebulous alleyways;  

Or snug in curtained carriages  

Traversing broad tree-lined boulevards  

And the grand axis of avenues  

Where monuments to empire align.  

Equine hooves and wooden wheels  

Clatter along the cobbles;  

Stir the swirling mist which clings  

To ornate bridges  

That span the winding Seine
.  

Our Lady, Fiend of Grace  

Pauses - rests her haunches  

On the moss laden ledge  

Of a belfry cloaked in ivy.  

Pupils enhanced with feline vision  

Scour the undulating sprawl  

Of urbane Paris-by-night .  

A view stretching as far  

As the dark haze of grey horizons  

Will allow.  

And La Seine slithers across the cityscape  

Like a silver bloated leech  

Sucking the blood from a crescent moon.
 

Freshly sated,  

Irma Vep seeks not ruby fluids  

Sheathed in shawls of skin.  

But the brighter baubles,  

Vain humans deem so dear.  

Jewelry alight with inner fire;  

More durable than flesh.  

These she needs to bargain with  

Entice eager tradesmen,  

Who cherish gems and can supply  

Many objects of desire.  

Plush comforts for the crypt  

Are her one conceit.  

Transactions indubitably  

Sealed with a kiss.
 

As thieving magpies filch  

Tinsel bright to horde,  

So covets she the shine  

Of diamond, sapphire and amethyst.  

The glow of priceless stone warms  

The frigid vault of her dead heart,  

Casting delicate lustre upon ivory hide.  

Bracelets to adorn snow-white wrists  

Where no pulse taps staccatto refrain.  

Tiaras and diadems to contrast  

Her jet-black coiffure; necklaces  

To dangle from elegant alabastrine throat;  

Tinkling cascades descending to  

The cleft of her pert decolletage.  

She was wont to stare for hours enraptured,  

Peering into multi-faceted window apertures  

Following shafts of scintillating hues  

Along refracted beams of lightning  

Seams cut through each prismic  

Hall of Mirrors.
 

Chasing rainbows in the microcosm,  

She seeks a stay from desperate pining;  

A brief respite from hopeless yearning  

For daylight`s eye; the solar orb.  

A Sun no undead  

Ghoul dares look upon.  

-  

(II)
 

The congregation felt the  

Hooded gimlet gaze  

Of His Most Holy Effluence,  

Swoop down from lofty pulpit  

To chastise the shallow flock  

Shuffling in the pews.  

Sniffing with disdain  

He can scarce contain  

His moral contempt;  

The scorn His every fibre feels  

For the common herd,  

Skulls bent in obsequious oblation.  

But with thoughts immersed  

In treachery -  

Their minds wed to sin.
 

Breathing deep, lungs expand  

The profound obesity of a pendulous chest.  

He commences to intone  

In languid, sonorous, sober drone  

His sermon for the eve.  

The theologian inveighs with rumbling gut,  

On the evils of this world;  

Of harbingers of heresies;  

Of demon-drink and absinthe-minded poets  

Of unchaste dames in brothel-hells  

Of opium dens where Satan surely dwells.  

And crucifying anarchists  

Is sound chastisement replete with only benefits.  

For our Catholic enlightenment.
 

Mass concludes and e´er the moon  

Could rise a notch upon the billowing firmament,  

His Holiness departs La Sainte Chapelle  

Through a back-door, to an awaiting hansom cab,  

Avoiding physical proximities  

With His doting diocese.
 

Within the sacrosanct haven  

Of His ostentacious private chambers  

Overlooking the Jardin de L Énfante,  

He opines further on transgressions of the flesh,  

Elaborating on ecclesiastical nuance  

To the sole lamb attending.
 

Upon discarding robe and mitre,  

The pontificating pederast eases  

Bloated bulk betwixt  

The bony shanks, convulsing buttocks,  

Of a sobbing, suppliant choir-boy,  

Who prays despairingly to the Virgin  

For release  

Or at least a swift demise.
 

Muttering mea culpas, Heaven`s  

Mouthpiece prepares to stab -  

Imagining the pain of iron nails  

Hammered  

Through the Saviour`s palms  

On the hill of Golgotha,  

So many years ago.
 

Here in this New Jerusalem,  

This luminous City of Light ,  

Temples to Man proliferate.  

Their burnished gleam so bright  

Even The Good Lord must avert  

His Divine gaze or risk being struck  

Blind by Faustian illumination.  

Smug, the vested Sybarite knows  

His trifling trespass will go unrecorded  

In angelic annals holding our souls to account  

Ere The Day of Judgement -  

The Final Reckoning,  

Cometh.
 

But  

No mortal witness either must remain.  

The boy  

Forced poisoned wine down throttled gullet,  

Will not live to tell the dawn  

Of sordid acts the night concealed.  

A recipe from the Borgias,  

Adepts supreme of fatal draughts,  

Slow-working yet impossible to purge,  

Will silence the child`s tongue for all  

Mortality.
 

A pity  

Skin so silken; a voice so sweet.
 

The Bishop stroked the trembling lamb  

Cooing soft platitudes  

With a calming air.
 

Then  

A swish of velvet drapes  

Punctuated by a polite cough,  

Wrenched The Holy Father  

From His blissful reverie.  

Angered at this insufferable  

Imposition, He turned to vent His spleen  

Incensed at the insolence this ingress incited.  

An errant servant would suffer His wrath!
 

His Eminence strove to focus as  

Amorphous shadow screened the form.  

A shape shifting with the dark,  

Drew closer. Noble bearing  

evident despite the gloom  

Refuting notions of lowly minion.
 

But lo!  

A raging bellow flush with indignant ire  

Switched to mortified gasp.  

A woman!
 

She spoke with sibilant whisper  

A sensuous address spilled  

From exquisite mien.  

A burgundy pout of coyly parted lips  

Teasing with a glint of tongue  

Ripe and moist, promising  

A taste of pre-dawn dew.  

Distilled in  

Heady drops of finest cognac breath,  

Lingering vapours  

Seemed to annoint  

Her words.
 

Her words.  

An apology couched in sincerest terms  

From a countenance so refined  

Cannot aught but be graciously received.  

Receipt of which grants clemency  

For slights of uninvited guests.  

The lateness of the Witching Hour,  

The inexpedient avenue of ingress  

So abrupt an arrival unannounced.  

All these impositions  

Did His Most Unctuous Excellency  

Cordially deign to tender a solemn pardon.
 

All the while  

Swatting at an incessent buzz  

Of occluded insects;  

Gnats too tiny for the dimlight  

To discern.
 

Countess Vep explained her earnest need  

Of absolution for her sins  

This very night, for if unforthcoming  

Then for certain would her stricken soul  

Tread the fiery coals of Hell.  

A confessional accord if  

His Holiness saw fit to acquiesce  

Would save this poor beleagured heart,  

And He would be amply,  

Ardently,  

(her generous bosom seemed to Him  

To swell with passionate resolve)  

Assiduously  

Rewarded.
 

Rewarded?  

The idea of submitting this haughty Venus  

To the caprice of unbridled concupiscence  

Shook the rakish debauchee of devout cloth  

To His vested core!  

Naturally He would condescend to paste  

A salve of Our Father`s forgiveness  

Upon the sins however manifest,  

This delectable Countess might confess.
 

Curse these flies!  

Their humming threnody drives a man to distraction.  

He struck again the intangible pests  

With pudgy paw aflame with jewels.  

Sparkling emeralds, rubies and other gems  

Mounting coiled bands of shimmering gold,  

Rings set in the flaccid flab  

Of oily fingers thick as eels.
 

His blow was abruptly curtailed,  

Halted in mid-swipe  

Swatting empty air.  

A manacle grip of iron clasped his wrist  

In an unyielding vice.  

Their eyes met reflecting  

The gleam of dulcet mineral.  

Both stood transfixed  

One mesmerized by the sheen of surrogate suns;  

The other by the twin black pits of livid  

Irises intent on swallowing light.  

The bishop blinked, the spell  

Almost broken.  

But the chitinous din grew louder  

And His will was sapped anew.
 

Benediction?  

Hazy lack of concentration took a while  

To process the request.  

And more by hierarchy`s ascendent instinct  

Did He profer forth his splayed  

Jewel encrusted hand,  

As Countess Vep bent her neck  

And knelt down upon a knee.  

Prepared to receive His blessing.
 

Mumbling latin inanities,  

His bloated fingers stroked her brow  

And He let a wrist fall limp  

To allow a kiss  

Upon His holy ring.  

Her lips were like ice, He had time to reflect,  

Before He felt a fierce tug followed  

Swiftly by a piercing sting between knuckle and extremity.  

Bewilderment hindered comprehension  

As a fountain sprayed its crimson spume  

In a graceful arc  

To the carpet at His feet.
 

Agony applied a reviving tonic to His addled wits  

And the proud purveyor of dogmas did raise  

Glazed piglet pupils  

Towards the object of this fresh affront.  

Her mouth was framed by a redness  

Wet and she smiled  

Revealing a glimmering array of vicious teeth, each  

Tapered to a needle point tip.  

Vep rose, slowly straightening her supple spine.  

With bodkin nails of thumb and forefinger  

She plucked from out her maw  

One sodden twitching digit  

Still adorned with ruby spangle.
 

The squeal His flapping throat emitted  

Resounded like a rutting swine`s  

And His Holiness grasped  

The closest jewel-encrusted crucifix  

To keep the Demoness at bay.
 

But she merely laughed  

And took a step towards Him,  

Flexing her talons in quick jerks of blurry motion.  

It dawned then on the bishop  

That since His God no longer watched  

Over His errant flock  

His talismens of consecrated power would not ward  

Off evil any more.
 

He begged then.  

Screamed for mercy as He fell before  

Her flailing claws,  

Knowing all too well the servants of His household  

Were well aquainted with sounds so shrill  

And would close their ears, pull their pillows  

Over their heads to quell the tortured cries.  

Tears welled up in His eyes as tensile whips  

Cut corpulence to the quick.  

The Faith He had deserted  

Abandoned Him now to butchery;  

Sacrificed His infidelity  

With a gruesome  

Dispatch.  

-  

(III)
 

Irma Vep bedazzled, stood gazing at her haul.  

With a covetous glow rougeing high cheekbones  

And the practiced eye of an avid collector,  

She admired the iridescent lustre of each precious stone.  

She clamped her teeth down hard on brittle fingers  

Tearing loose each glittering prize one by one.  

Immersed.  

Oblivious to the rustle of linen.
 

A sudden whimper pricked her elfin ears  

And her nostrils sought its source.  

Soon to be discovered  

Trembling beneath the soiled bedsheets of an ornate  

Carved four-poster bed  

She found the abused, dying boy.  

Dessert…?  

-  

(IV)
 

The child rarely ventured  

Out before the advent of dusk;  

These days grown painfully bright .  

He preferred to pray  

Fervently, with hands clasped  

Tightly together, upon his knees.  

He would kneel for hours  

Before an image  

Of the Blessed Virgin  

Willing his still heart  

To convey his adoration and gratitude.
 

The holy fathers were impressed  

By his devotion  

And his voice!  

Angelic ecstacy sweet as honey.  

Never had beauty blended  

With sublime melancholy  

To fill the air beneath the ribbed vaults  

Of La Sainte Chapelle  

With such exquisite euphony.  

Surely the boy was touched by God.
 

Yet he knew despite his seraphic demeanour  

They avoided him.  

The child could sense their uncertainty,  

Smell fear clog the pores of perspiring  

Skin and hear their hushed tones  

As they spoke of him.  

He could also hear their beating hearts,  

The rush of blood flowing  

Through pulsating veins;  

The lubricating trickle seeping  

Through internal organs.
 

Strange and horrifying visions  

Would afflict his mind`s eye  

More and more – unceasingly  

These chill Winter days.  

Whenever he felt madness threaten  

To overcome his chaste resolve  

He would pray once again  

To the Immaculate Madonna  

Who saved him  

On that dark terrible night  

Long ago.  

The boy would stare up at the sparkling  

Stained-glass windows,  

Refracting shafts of coloured light  

Like jewels…
 

And eventually  

A sense of peace  

Would soothe his lost tormented soul.  

Author notes

A tale from La Belle Epoche. A dark view of "The City of Lights". The Cathedral La Sainte Chapelle boasts some of most impressive and extensive stained-glass windows in the world. It also served as a reliquiry for The Crown of Thorns and other sacred treasures for which, one must assume, great sacrifices were made.
This is the second part of an ongoing serialisation inspired by characters depicted in the French film "Les Vampires" from 1915.

What is the price of sacrifice? [Reward: double points]

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Comments

1 - 20 of 20
  • Excelent and nothing more

    The price of sacrifice is perfection. The price of perfection is death. There's no price for death.


    • gnosisonG silver member
      July 11

      Edit | Reply

      Cheers S.E:

      Very kind of you to comment on this lengthy piece.
      Though I must say that if the price of living death is the loss of ones soul (as is invariably the case with vampires) then a steep cost it is indeed.

      Warm regards

      gG

  • hobby
    March 13, 2007

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    Hi,
    This was obviously written over many sittings, that you keep the tone and pace so even is quite impressive. I did feel through Part II, that the pace had moved on and the read became slightly fragmented, however, that is not to say that it was not in keeping with the context. I particularly like that, as I read it, it felt as if it was being read to me. I can imagine a recital of this working very well.

    For a piece of this length, lines of excellence abound, a favorite being likely one of the most simple: ‘Asleep in hives of masonry’, a vivid portrait of how I’d image the times being – large family units spanning several generations cocooned under a common roof, the image repeated on each adjoining building – a veritable hive

    I have only read it through once so can not really offer more of a critique at this time, however, you explain in the footnote that this is part of an ongoing work, that being the case I wonder if the close may be more enticing if it were less resolved?

    Rgds
    hobby

    . Rewarded 4


    • gnosisonG silver member
      March 14, 2007
      Edit | Reply

      Salutations Hobby!

      Thanx for the kind and thoughtful comment aswell as for making the effort with this lengthy piece - I ve edited the font finally which I hope makes it easier on the eyeball.
      I enjoyed your extrapolation of hives of masonry - "cocooned under a common roof" sounds bloody good too.
      Each part is trying to be like the "act" of a scenic endeavour but Act II might well be enhanced by splicing as it is rather long.
      I ve posted two other Veps at SP - An intro of sorts and the followup called "The Cowl". Although an ongoing serialisation (of 10 parts), each episode is self-contained so in the long run things are hardly resolved. There are new characters to be introduced and much fleshing out of Vep herself.
      I ve almost completed VII now - they re getting longer and longer I m afraid but far more character-driven and (dare I say) focused.
      Also each Vep requires more and more background research but I am sure it will be worth the effort and that one fine day they´ll garner me some beer money.

      Warmest regards

      gG


  • Lad silver member
    February 23, 2007

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    Mixed thoughts.

    gG, as always in your Irma opera, it's deliciously, often maliciously, worded. I can see the joyously difficult labor behind this one - and yet the ambience seems seamless. Nice work.

    I do, though, have reservations about Irma's antagonist in this one: the cardinal. I think you make him too vile, an easy and predictable target - I could see his demise coming from thirty lines before; sort of takes the ooomph out of the arc's progression. Irma, au contraire, is interestingly dual; but the cardinal is painted in too-easy dark colors - too easy a villain.

    And the scene with the angelic choir boy is, while beautifully dictioned and imaged, so way over the top with weepiness that the tragedy of the event is lost into overripe melodrama. Perhaps that event might be toned down?

    I also wonder why the cardinal "knows" rather than "thinks" his deed will go unrecorded and unrevenged by the "Good Lord." I guess I'm saying that the poet's point of view here somehow gets muddled; could be that the cardinal, rat that he is, "knows" that a transcendent God is a joke? Unclear to me.

    BUT, all in all, another macabre act in the continuing opera. Enjoyable; but I hope future installments don't descent TOO much into soap opera.

    With admiration, as always, for mastery of language!

    Lad

    . Rewarded 4


    • gnosisonG silver member
      February 24, 2007
      Edit | Reply

      PS

      An example of Veps wicked humour is her asking for a blessing/benediction from a rotten bastard like the Bishop who is closer to a devil incarnate than a pious prelate. But this is in character with her penchant for naughtiness and her worship of aspects of evil.
      Oh, and as in a parable you know invariably who s gonna get fucked, right, so there seemed to be little point in cloaking the Bishopricks inevitable demise.


    • gnosisonG silver member
      February 24, 2007
      Edit | Reply

      Thanx Lad

      For a thoughtful critique. I must say I think you are correct with your observations but for the very effects you mention I am of the opinion that IV 2 should remain in this state. I ll try to extrapolate on my reasoning behind these particular (astute) criticisms.
      Goth-opera steeped in an attempt to parallel aspects of Belle Epoch literary conceits is melodramatic enough to be on the verge of a slippery slope into soap I agree, and the "cartoonish" aspects of a villain are in keeping with much writing during this period even among realists such as Maupassant, Baudelaire even Zola.
      Vep and the Bishop represent dark and darker shades underlining that you don t need to be supernatural to be a monster and that "ordinary" mankind is quite capable of creating monstrous conditions. The Bishop "knows" because he only has faith in his lack of faith in anything spiritual. He is a Faustian product wrought from the much more "living" description of Paris in all its glorious materialism. He is a God unto Himself - therefore the capitals throughout the piece when refering to the bastard.
      IV 2 is all about darkness beneath the surface of things - the price to be paid for superficial perfection - Irma of course evinces more depth than a one-off villain; beneath her beauty, magnetic charm, love of jewels she`s a murderous bitch; the "Good Shepard" Bishop, a sadistic pedophile and then the sweet voiced lambchop himself: a vampire. That s the twist in a sense.
      The depiction of Lambchop IS over the top - I was hoping it would add to the final horror and I did feel, Lad, it was neccesary in order to uphold the "seamless ambience" as you so kindly remarked.
      Indeed "the Sacrificial Lamb" is in effect the moral sacrifice we all make in keeping up appearances, being what others expect of us aswell as superficial perfection. I felt this to be an apt theme within such florid environs as the City of Lights (the fourth character here).
      That said, however, Lamma Sabacthani was the second Irma I wrote, really the first since An Infernal Introduction was originally meant as a one-off, so ideally it should be read before the later pieces.
      In relation to your astute comments I found it impossible to continue in the same vein for later Veps and they are indeed far more character driven - ultimately more satisfying I suppose. IV 2 was written on pure inspiration whilst the Cowl required a lot more work as do the others.
      Vep 2 is a simpler tale - almost a parable.
      Oh and as for Lambchop; his Seraph-like demeanor is in for a right bollocking I can assure you.
      I ve begun IV 7. IV 6 (half-completed) is languishing on a fucked up laptop in for repairs, but after extensive rewrites IV 5 The Frame of Death is in the bag. I would very much like to send it to you, Lad. It is certainly more character driven with Edvard Munch as the main protagonist (do you know much about him?) but Alphonse the Butcher is as nasty cartoon villain as they come - again neccessary as a contrast between the pure sensual and the base carnal with Irma somewhere inbetween. This I shamefacedly admit reflects my own poetic predispositions.
      But in that at least, I "know" I m not alone.

      Warmest Regards

      thrombosisonG


  • jera jam
    January 24, 2007

    Edit | Reply
    A lot of delicious stuff here, around about the mention of cobbled stones I realised I was in some boudoir fiddling with warm ribbons thinking my way out of a window. A treat to read such macabre richness. As an aside, I've just written the phrase 'ruby juices' in a poem called "Split" on this sit: it's so like your ruby fluids' and not an image I've heard before, now twice in a month.
    Yum, thanks.

    . Rewarded 4


    • gnosisonG silver member
      February 24, 2007
      Edit | Reply

      Cheers Jera Jam

      "Ruby juices" or fluids is an odd turn of phrase but I´m not surprised someone with a cool non de plume as jera jam thought it up. Ruby juices could also be strawberry jam!

      Warm regards

      gG


  • madhu
    October 22, 2006
    Edit | Reply

    good work

    Her words.  

    An apology couched in sincerest terms  

    From a countenance so refined  

    Cannot aught but be graciously received.  

    Receipt of which grants clemency  

    For slights of uninvited guests.




    like these lines much....



    good work.





    . Rewarded 4

  • Terry-too
    October 5, 2006

    Edit | Reply

    Gallic goth goeth ghastly


    Je ne connais pas le mot, "beniners." Rare,
    il ne se cache pas dans mon dictionnaire.
    Pour benir, on se sert des fonts baptismaux,
    et meme le diable a des doigts dans les eaux.

    Not often I have reason to write verse in French!
    "Les eaux benites" I can accept even sans accents.

    doigt
    pedarast?  Typo:  pederast.
    bellfry aussi.   belfry
    boney--  bony
    In a graceful ark   arc?
    exstacy,  ecstasy

    What was the significance of the gnats?
    A distraction?  Something more?

    A pause to collect the scatter of wits.  My own.

    Thank you for the trail of typos in my path as I ventured with awe and trepidation the length of this opus magnificus, for otherwise I would have been struck entirely dumb!  It is, was, will be at the incoherent end of my superlatives not only in its obvious horror, but in black humour that kept me reading, not once but again to the moral of the story:  
    Served him right!
     
    Terry

    . Rewarded 4


    • gnosisonG silver member
      October 12, 2006
      Edit | Reply

      My gratitude, Terry!

      Mercy bowcue for spotting the typos. My pc program seems to be on strike at present - probably sick of my neologistic laissez faire.
      My French is execrable, I`m afraid, but I`m sort of bound now to procure suitable quotes for each following episode (Je bloody deteste creating precedence for myself!)aswell as aquiring more intimate knowledge of La Belle Epoque which is in any case great fun. Luckily during my precursory research in this area I`ve come accross a fabulous poet who in many ways was the epitomy of this fin de siecle period: Stephane Mallarme. This is a great boost especially since he`s well into mythological symbolism and homophony (which means however I`ll have to improve my French no end to understand him in depth!)
      The gnats are a device attempting to externalise the hypnotic mesmeric effects of a vampires powers of suggestion. The buzzing in the mind pertains to a confusion of thoughts which might, I suppose, be a vampire`s most potent weapon rendering their victim`s will to resist inutile.
      I shall be selective in my emphasis on which powers/weakpoints my vampires possess and try to lessen the superhero/villain quality.
      Irma Vep Trois isn`t writing itself as easily. I might`ve bitten off more than I can chew, but that`s the bastard thing with precedence.
      Thanks again, Terry.
      Regards gG


  • celestialpie gold member
    September 19, 2006

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    Awesome!

    Surely you have been published before?  Your decadent lines put me in the mind of Nabokov, both heady, rich, dark and strangely comic.  I think you have found your muse.  Masterful, as ever.

    . Rewarded 1


    • gnosisonG silver member
      October 12, 2006
      Edit | Reply

      Thanx Celestial

      It`s time I made an effort towards publishing some stuff. The starving poet thing is wearing a little thin. I greatly appreciate your kind and enthusiastic comments CP.
      Warmest regards
      gG


  • Nienna Colle
    September 18, 2006

    Edit | Reply

    MY GOD! haha, sweet irony

    This was better than the first. I am TOTALLY  impressed with the dark tone this poem has taken on, and I hope to see more of this series.
    On that note, I do have one question for you: these movies you speak about, are the poems based off of those or are their plots from your head? Either way, you do them a great honor by putting them into your poem form. I love it.
    Ha, I think that reading your work is building up my vocabulary. I understood all these words! Maybe you just weren't using fancy language, though
    I love it. You should tell me every time you produce a new one.
    I love the irony in the three different parts...demon thief woman turned savior...oh, ecstasy is spelled wrong in the last part (paragraph 39 I believe, yes, fourth line). KEEP ME TUNED IN!!!
    Admiringly
    Nienna
    ps needless you say you swept the board on the rating thing...

    . Rewarded 4


    • gnosisonG silver member
      September 19, 2006
      Edit | Reply

      My gratitude as ever, Nienna!

      For your prompt reading and succinct critiqueing (and spotting typos! I think my pc`s spell-checker is stiking in a fit of chagrin at my neologisms).
      Les Vampires is actually an amalgamation of 10 episodes of varying durations. I haven`t seen them yet, Nienna! And neither shall I until my own interpretations on the basic premise are so ingrained so as not to derive undue stimulae from another source. I`ve read what I could find on internet and in anthology of movies where I first recall seeing it mentioned. I suppose I just fell for the anagramatic name of Irma Vep.
      In the original the "vampires" weren`t really nosferatus at all I understand. It was just the name of a gang of murderous jewel thieves, pursued by an intrepid reporter: Phillippe Guerande. Irma was a member (her gender denying her leadership) who survived each episode. I`ve found a site giving a general outline of each segments plot and neither of my own Veps come anywhere close to these in storyline or content. Although wierdly enough I discovered the first episode was entitled "The Severed Head" and my first has one also, albeit in subsidiary role and as part of an underlying theme of Templar/Masonic imagery (Masonic crypt, Knight portraits, the severed head= Baphomet, as above so below ending etc).
      The challenges of part two, if sticking to the original premise, were explaining why a vampire at a subliminal level would be a jewel thief, which vampiric elements were relevant to her character and how to depict a villain worse than she.
      As per usual, Nienna, there are underlying themes of hermetic essence within this piece.
      Vampires make for profound symbolism concerning lost souls and the God/Goddessless nature of non-spiritual materialism. But I hope in some way the idea that even Lost Souls yearn for the enlightenment of illumination, shines through as a tiny ray here.
      Warmest regards
      gothisonG


      • Nienna Colle
        September 19, 2006
        Edit | Reply
        I pretty much assumed all of this was of a very very very original nature, but I was curious anyway. I love the whole idea, as I've said before, and I check your poetry often but I do hope you'll notify me if anything new in the Irma Vep series happens...I love it.
        Nienna
        PS I assume you've read The Da Vinci Code? If not it's a great thing if taken merely as a novel


  • Windhover silver member
    September 18, 2006

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    A Page-turner (pardon the pun)

    I've paid you as many compliments as is decent about your command of the language and general technical ability so take them as a 'given' here. Its 7.00 am and I just read this end to end. The genre is clearly right up your darkened street! If this is to be a serial I'll be tuning in . Love the way Irma is becoming an avenging angel in the cess-pit of corruption. How you set the bishop up for his fall. So well had you painted his repulsiveness I had pictured an even worse fate for him as Irma knelt before him! And he would have deserved it! I sense a strong storyline for the choir-boy as well. Really great stuff which engages the theatre of the mind so much more succinctly than the endless drivel that floods the TV channels mishandling this excellent genre.Have to pick out 'line' 6 and your description of the Seine as a silver leech etc. as the poetic highlight in a feast of imagery .
    As an aside , I spent some time discussing the moral bankruptcy of modern capitalism and how poorly it contrasts with the resolve of its tormentors last night . The discussion echoed here.
    Great work - as if I had to say !     >W<

    . Rewarded 4


    • gnosisonG silver member
      October 12, 2006
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      Hah!

      Yeah! I just now caught hindsight of the "even worse fate" you were refering to "as Irma knelt before him", Windhover. Hahah! It could be wrangled in I suppose. Perhaps if this Pontiff of Pedarasty wore a gold studded penus-ring or something? Or his pubes were the Golden Fleece (a lamb-sheep twist).
      Taking a break from sharepo gives fresh perspective indeed!
      Cheers!
      gothisonG


    • gnosisonG silver member
      September 19, 2006
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      Cheers Windhover!

      With a bit of luck this "style" will evolve as a hybrid somewhere betwixt poetry and prose whereby the tale experienced primarily through the characters (Paris being a main one) will entice sufficiently for the average reader (which with your eye for subtleties you most certainly are not, my friend!) to read all the way through.
      I took a walk up a nearby mountain yesterday and came down with the general plot for number 3, introducing further characters and fleshing out Vep some more. "Lambchop" doesn`t partake, but their might be a cameo appearence somewhere along the line.
      Who the hell knows? I certainly don`t. I`ll give further elucidation on background in a reply to Nienna.
      Thanx as always for reading and critiqueing, I owe you a several rounds of guinness for this!
      Cheers
      gothisonG

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