Mateo Cerezo the Younger - Magdalena (17th century)
🩵 avery cochrane 🩵
tumblr dot com
Sade Olutola

Love Begins
NASA
Cosimo Galluzzi
Doug Jones
Cookie Run:Kingdom Official!

#extradirty

The Bowery Presents

Kiana Khansmith
Mike Driver
noise dept.

Origami Around
One Nice Bug Per Day
YOU ARE THE REASON
ojovivo
seen from United States
seen from United States
seen from Malaysia
seen from United States

seen from Indonesia
seen from United Kingdom

seen from Malaysia

seen from Malaysia
seen from Bangladesh

seen from United States
seen from Colombia
seen from Austria
seen from United States
seen from United States

seen from United States
seen from United States

seen from United States

seen from United States
seen from Germany
seen from Bangladesh
@skeletmetsigaret
Mateo Cerezo the Younger - Magdalena (17th century)

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Henry Weston Keen, Skull Crowned with Snakes and Flowers (for the Duchess of Malfi and the White Devil by John Webster) c.1918-1935
Illustration from The Arrival (2006) by Shaun Tan (1974 - )
Self Portrait (1916) by Jeanne Hébuterne (1898 - 1920)
French artist Jeanne Hébuterne (1898 - 1920)

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Nudo Dolente (1908) by Amedeo Modigliani (1884 - 1920)
Theatrical release poster for Les Frisson Des Vampires (The Shiver of the Vampires or Thrill of the Vampires) (1971) a film directed by Jean Rollin
Theatrical release poster for La Vampire Nue (The Naked Vampire) (1970) a film directed by Jean Rollin
The Vampire (1987) by Sir Philip-Burne Jones (1861-1926)
Snow, Glass, Apples
by Neil Gaiman (1960 - )
I do not know what manner of thing she is. None of us do. She killed her mother in the birthing, but that's never enough to account for it.
They call me wise, but I am far from wise, for all that I foresaw fragments of it, frozen moments caught in pools of water or in the cold glass of my mirror. If I were wise I would not have tried to change what I saw. If I were wise I would have killed myself before ever I encountered her, before ever I caught him.
Wise, and a witch, or so they said, and I'd seen his face in my dreams and in reflections for all my life: sixteen years of dreaming of him before he reined his horse by the bridge that morning, and asked my name. He helped me onto his high horse and we rode together to my little cottage, my face buried in the gold of his hair. He asked for the best of what I had; a king's right, it was.
His beard was red-bronze in the morning light, and I knew him, not as a king, for I knew nothing of kings then, but as my love. He took all he wanted from me, the right of kings, but he returned to me on the following day, and on the night after that: his beard so red, his hair so gold, his eyes the blue of a summer sky, his skin tanned the gentle brown of ripe wheat.
His daughter was only a child: no more than five years of age when I came to the palace. A portrait of her dead mother hung in the princess's tower room; a tall woman, hair the colour of dark wood, eyes nut-brown. She was of a different blood to her pale daughter.
The girl would not eat with us.
I do not know where in the palace she ate.
I had my own chambers. My husband the king, he had his own rooms also. When he wanted me he would send for me, and I would go to him, and pleasure him, and take my pleasure with him.
One night, several months after I was brought to the palace, she came to my rooms. She was six. I was embroidering by lamplight, squinting my eyes against the lamp's smoke and fitful illumination. When I looked up, she was there.
"Princess?"
She said nothing. Her eyes were black as coal, black as her hair; her lips were redder than blood. She looked up at me and smiled. Her teeth seemed sharp, even then, in the lamplight.
"What are you doing away from your room?"
"I'm hungry," she said, like any child.
It was winter, when fresh food is a dream of warmth and sunlight; but I had strings of whole apples, cored and dried, hanging from the beams of my chamber, and I pulled an apple down for her.
"Here."
Autumn is the time of drying, of preserving, a time of picking apples, of rendering the goose fat. Winter is the time of hunger, ofsnow, and of death; and it is the time of the midwinter feast, when we rub the goose-fat into the skin of a whole pig, stuffed with that autumn's apples, then we roast it or spit it, and we prepare to feast upon the crackling.
She took the dried apple from me and began to chew it with her sharp yellow teeth.
"Is it good?"
She nodded. I had always been scared of the little princess, but at that moment I warmed to her and, with my fingers, gently, I stroked her cheek. She looked at me and smiled -- she smiled but rarely -- then she sank her teeth into the base of my thumb, the Mound of Venus, and she drew blood.
I began to shriek, from pain and from surprise; but she looked at me and I fell silent.
The little Princess fastened her mouth to my hand and licked and sucked and drank. When she was finished, she left my chamber. Beneath my gaze the cut that she had made began to close, to scab, and to heal. The next day it was an old scar: I might have cut my hand with a pocket-knife in my childhood.
I had been frozen by her, owned and dominated. That scared me, more than the blood she had fed on. After that night I locked my chamber door at dusk, barring it with an oaken pole, and I had the smith forge iron bars, which he placed across my windows.
My husband, my love, my king, sent for me less and less, and when I came to him he was dizzy, listless, confused. He could no longer make love as a man makes love; and he would not permit me to pleasure him with my mouth: the one time I tried, he started, violently, and began to weep. I pulled my mouth away and held him tightly, until the sobbing had stopped, and he slept, like a child.
I ran my fingers across his skin as he slept. It was covered in a multitude of ancient scars. But I could recall no scars from the days of our courtship, save one, on his side, where a boar had gored him when he was a youth.
Soon he was a shadow of the man I had met and loved by the bridge. His bones showed, blue and white, beneath his skin. I was with him at the last: his hands were cold as stone, his eyes milky-blue, his hair and beard faded and lustreless and limp. He died unshriven, his skin nipped and pocked from head to toe with tiny, old scars.
He weighed near to nothing. The ground was frozen hard, and we could dig no grave for him, so we made a cairn of rocks and stones above his body, as a memorial only, for there was little enough of him left to protect from the hunger of the beasts and the birds.
So I was queen.
And I was foolish, and young -- eighteen summers had come and gone since first I saw daylight -- and I did not do what I would do, now.
If it were today, I would have her heart cut out, true. But then I would have her head and arms and legs cut off. I would have them disembowel her. And then I would watch, in the town square, as the hangman heated the fire to white-heat with bellows, watch unblinking as he consigned each part of her to the fire. I would have archers around the square, who would shoot any bird or animal who came close to the flames, any raven or dog or hawk or rat. And I would not close my eyes until the princess was ash, and a gentle wind could scatter her like snow.
I did not do this thing, and we pay for our mistakes.
They say I was fooled; that it was not her heart. That it was the heart of an animal -- a stag, perhaps, or a boar. They say that, and they are wrong.
And some say (but it is her lie, not mine) that I was given the heart, and that I ate it. Lies and half-truths fall like snow, covering the things that I remember, the things I saw. A landscape, unrecognisable after a snowfall; that is what she has made of my life.
There were scars on my love, her father's thighs, and on his ballock-pouch, and on his male member, when he died.
I did not go with them. They took her in the day, while she slept, and was at her weakest. They took her to the heart of the forest, and there they opened her blouse, and they cut out her heart, and they left her dead, in a gully, for the forest to swallow.
The forest is a dark place, the border to many kingdoms; no-one would be foolish enough to claim jurisdiction over it. Outlaws live in the forest. Robbers live in the forest, and so do wolves. You can ride through the forest for a dozen days and never see a soul; but there are eyes upon you the entire time.
They brought me her heart. I know it was hers -- no sow's heart or doe's would have continued to beat and pulse after it had been cut out, as that one did.
I took it to my chamber.
I did not eat it: I hung it from the beams above my bed, placed it on a length of twine that I strung with rowan-berries, orange-red as a robin's breast; and with bulbs of garlic.
Outside, the snow fell, covering the footprints of my huntsmen, covering her tiny body in the forest where it lay.
I had the smith remove the iron bars from my windows, and I would spend some time in my room each afternoon through the short winter days, gazing out over the forest, until darkness fell.
There were, as I have already stated, people in the forest. They would come out, some of them, for the Spring Fair: a greedy, feral, dangerous people; some were stunted -- dwarfs and midgets and hunchbacks; others had the huge teeth and vacant gazes of idiots; some had fingers like flippers or crab-claws. They would creep out of the forest each year for the Spring Fair, held when the snows had melted.
As a young lass I had worked at the Fair, and they had scared me then, the forest folk. I told fortunes for the Fairgoers, scrying in a pool of still water; and, later, when I was older, in a disc of polished glass, its back all silvered -- a gift from a merchant whose straying horse I had seen in a pool of ink.
The stallholders at the fair were afraid of the forest folk; they would nail their wares to the bare boards of their stalls -- slabs of gingerbread or leather belts were nailed with great iron nails to the wood. If their wares were not nailed, they said, the forest folk would take them, and run away, chewing on the stolen gingerbread, flailing about them with the belts.
The forest folk had money, though: a coin here, another there, sometimes stained green by time or the earth, the face on the coin unknown to even the oldest of us. Also they had things to trade, and thus the fair continued, serving the outcasts and the dwarfs, serving the robbers (if they were circumspect) who preyed on the rare travellers from lands beyond the forest, or on gypsies, or on the deer. (This was robbery in the eyes of the law. The deer were the queen's.)
The years passed by slowly, and my people claimed that I ruled them with wisdom. The heart still hung above by bed, pulsing gently in the night. If there were any who mourned the child, I saw no evidence: she was a thing of terror, back then, and they believed themselves well rid of her.
Spring Fair followed Spring Fair: five of them, each sadder, poorer, shoddier than the one before. Fewer of the forest folk came out of the forest to buy. Those who did seemed subdued and listless. The stallholders stopped nailing their wares to the boards of their stalls. And by the fifth year but a handful of folk came from the forest -- a fearful huddle of little hairy men, and no-one else.
The Lord of the Fair, and his page, came to me when the fair was done. I had known him slightly, before I was queen.
"I do not come to you as my queen," he said.
I said nothing. I listened.
"I come to you because you are wise," he continued. "When you were a child you found a strayed foal by staring into a pool of ink; when you were a maiden you found a lost infant who had wandered far from her mother, by staring into that mirror of yours. You know secrets and you can seek out things hidden. My queen," he asked, "what is taking the forest folk? Next year there will be no Spring Fair. The travellers from other kingdoms have grown scarce and few, the folk of the forest are almost gone. Another year like the last, and we shall all starve."
I commanded my maidservant to bring me my looking-glass. It was a simple thing, a silver-backed glass disk, which I kept wrapped in a doe-skin, in a chest, in my chamber.
They brought it to me, then, and I gazed into it:
She was twelve and she was no longer a little child. Her skin was still pale, her eyes and hair coal-black, her lips as red as blood. She wore the clothes she had worn when she left the castle for the last time -- the blouse, the skirt, -- although they were much let-out, much mended. Over them she wore a leather cloak, and instead of boots she had leather bags, tied with thongs, over her tiny feet.
She was standing in the forest, beside a tree.
As I watched, in the eye of my mind, I saw her edge and step and flitter and pad from tree to tree, like an animal: a bat or a wolf. She was following someone.
He was a monk. He wore sackcloth, and his feet were bare, and scabbed and hard. His beard and tonsure were of a length, overgrown, unshaven.
She watched him from behind the trees. Eventually he paused for the night, and began to make a fire, laying twigs down, breaking up a robin's nest as kindling. He had a tinder-box in his robe, and he knocked the flint against the steel until the sparks caught the tinder and the fire flamed. There had been two eggs in the nest he had found, and these he ate, raw. They cannot have been much of a meal for so big a man.
He sat there in the firelight, and she came out from her hiding place. She crouched down on the other side of the fire, and stared at him. He grinned, as if it were a long time since he had seen another human, and beckoned her over to him.
She stood up and walked around the fire, and waited, an arms-length away. He pulled in his robe until he found a coin -- a tiny, copper penny, -- and tossed it to her. She caught it, and nodded, and went to him. He pulled at the rope around his waist, and his robe swung open. His body was as hairy as a bear's. She pushed him back onto the moss. One hand crept, spider-like, through the tangle of hair, until it closed on his manhood; the other hand traced a circle on his left nipple. He closed his eyes, and fumbled one huge hand under her skirt. She lowered her mouth to the nipple she had been teasing, her smooth skin white on the furry brown body of him.
She sank her teeth deep into his breast. His eyes opened, then they closed again, and she drank.
She straddled him, and she fed. As she did so a thin blackish liquid began to dribble from between her legs...
"Do you know what is keeping the travellers from our town? What is happening to the forest people?" asked the Head of the Fair.
I covered the mirror in doe-skin, and told him that I would personally take it upon myself to make the forest safe once more.
I had to, although she terrified me. I was the queen.
A foolish woman would have gone then into the forest and tried to capture the creature; but I had been foolish once and had no wish to be so a second time.
I spent time with old books, for I could read a little. I spent time with the gypsy women (who passed through our country across the mountains to the south, rather than cross the forest to the north and the west).
I prepared myself, and obtained those things I would need, and when the first snows began to fall, then I was ready.
Naked, I was, and alone in the highest tower of the palace, a place open to the sky. The winds chilled my body; goose-pimples crept across my arms and thighs and breasts. I carried a silver basin, and a basket in which I had placed a silver knife, a silver pin, some tongs, a grey robe and three green apples.
I put them down and stood there, unclothed, on the tower, humble before the night sky and the wind. Had any man seen me standing there, I would have had his eyes; but there was no-one to spy. Clouds scudded across the sky, hiding and uncovering the waning moon.
I took the silver knife, and slashed my left arm -- once, twice, three times. The blood dripped into the basin, scarlet seeming black in the moonlight.
I added the powder from the vial that hung around my neck. It was a brown dust, made of dried herbs and the skin of a particular toad, and from certain other things. It thickened the blood, while preventing it from clotting.
I took the three apples, one by one, and pricked their skins gently with my silver pin. Then I placed the apples in the silver bowl, and let them sit there while the first tiny flakes of snow of the year fell slowly onto my skin, and onto the apples, and onto the blood.
When dawn began to brighten the sky I covered myself with the grey cloak, and took the red apples from the silver bowl, one by one, lifting each into my basket with silver tongs, taking care not to touch it. There was nothing left of my blood or of the brown powder in the silver bowl, save nothing save a black residue, like a verdigris, on the inside.
I buried the bowl in the earth. Then I cast a glamour on the apples (as once, years before, by a bridge, I had cast a glamour on myself), that they were, beyond any doubt, the most wonderful apples in the world; and the crimson blush of their skins was the warm colour of fresh blood.
I pulled the hood of my cloak low over my face, and I took ribbons and pretty hair ornaments with me, placed them above theapples in the reed basket, and I walked alone into the forest, until I came to her dwelling: a high, sandstone cliff, laced with deep caves going back a way into the rock wall.
There were trees and boulders around the cliff-face, and I walked quietly and gently from tree to tree, without disturbing a twig or a fallen leaf. Eventually I found my place to hide, and I waited, and I watched.
After some hours a clutch of dwarfs crawled out of the cave-front -- ugly, misshapen, hairy little men, the old inhabitants of this country. You saw them seldom now.
They vanished into the wood, and none of them spied me, though one of them stopped to piss against the rock I hid behind.
I waited. No more came out.
I went to the cave entrance and hallooed into it, in a cracked old voice.
The scar on my Mound of Venus throbbed and pulsed as she came towards me, out of the darkness, naked and alone.
She was thirteen years of age, my stepdaughter, and nothing marred the perfect whiteness of her skin save for the livid scar on her left breast, where her heart had been cut from her long since.
The insides of her thighs were stained with wet black filth.
She peered at me, hidden, as I was, in my cloak. She looked at me hungrily. "Ribbons, goodwife," I croaked. "Pretty ribbons for your hair..."
She smiled and beckoned to me. A tug; the scar on my hand was pulling me towards her. I did what I had planned to do, but I did it more readily than I had planned: I dropped my basket, and screeched like the bloodless old pedlar woman I was pretending to be, and I ran.
My grey cloak was the colour of the forest, and I was fast; she did not catch me.
I made my way back to the palace.
I did not see it. Let us imagine though, the girl returning, frustrated and hungry, to her cave, and finding my fallen basket on the ground.
What did she do?
I like to think she played first with the ribbons, twined them into her raven hair, looped them around her pale neck or her tiny waist.
And then, curious, she moved the cloth to see what else was in the basket; and she saw the red, red apples.
They smelled like fresh apples, of course; and they also smelled of blood. And she was hungry. I imagine her picking up an apple, pressing it against her cheek, feeling the cold smoothness of it against her skin.
And she opened her mouth and bit deep into it...
By the time I reached my chambers, the heart that hung from the roof-beam, with the apples and hams and the dried sausages, had ceased to beat. It hung there, quietly, without motion or life, and I felt safe once more.
That winter the snows were high and deep, and were late melting. We were all hungry come the spring.
The Spring Fair was slightly improved that year. The forest folk were few, but they were there, and there were travellers from the lands beyond the forest.
I saw the little hairy men of the forest-cave buying and bargaining for pieces of glass, and lumps of crystal and of quartz-rock. They paid for the glass with silver coins -- the spoils of my stepdaughter's depredations, I had no doubt. When it got about what they were buying, townsfolk rushed back to their homes, came back with their lucky crystals, and, in a few cases, with whole sheets of glass.
I thought, briefly, about having them killed, but I did not. As long as the heart hung, silent and immobile and cold, from the beam of my chamber, I was safe, and so were the folk of the forest, and, thus, eventually, the folk of the town.
My twenty-fifth year came, and my stepdaughter had eaten the poisoned fruit two winters' back, when the Prince came to my Palace. He was tall, very tall, with cold green eyes and the swarthy skin of those from beyond the mountains.
He rode with a small retinue: large enough to defend him, small enough that another monarch -- myself, for instance -- would not view him as a potential threat.
I was practical: I thought of the alliance of our lands, thought of the Kingdom running from the forests all the way south to the sea; I thought of my golden-haired bearded love, dead these eight years; and, in the night, I went to the Prince's room.
I am no innocent, although my late husband, who was once my king, was truly my first lover, no matter what they say.
At first the prince seemed excited. He bade me remove my shift, and made me stand in front of the opened window, far from the fire, until my skin was chilled stone-cold. Then he asked me to lie upon my back, with my hands folded across my breasts, my eyes wide open - but staring only at the beams above. He told me not to move, and to breathe as little as possible. He implored me to say nothing. He spread my legs apart.
It was then that he entered me.
As he began to thrust inside me, I felt my hips raise, felt myself begin to match him, grind for grind, push for push. I moaned. I could not help myself.
His manhood slid out of me. I reached out and touched it, a tiny, slippery thing.
"Please," he said, softly. "You must neither move, nor speak. Just lie there on the stones, so cold and so fair."
I tried, but he had lost whatever force it was that had made him virile; and, some short while later, I left the Prince's room, his curses and tears still resounding in my ears.
He left early the next morning, with all his men, and they rode off into the forest.
I imagine his loins, now, as he rode, a knot of frustration at the base of his manhood. I imagine his pale lips pressed so tightly together. Then I imagine his little troupe riding through the forest, finally coming upon the glass-and-crystal cairn of my stepdaughter. So pale. So cold. Naked, beneath the glass, and little more than a girl, and dead.
In my fancy, I can almost feel the sudden hardness of his manhood inside his britches, envision the lust that took him then, the prayers he muttered beneath his breath in thanks for his good fortune. I imagine him negotiating with the little hairy men - offering them gold and spices for the lovely corpse under the crystal mound.
Did they take his gold willingly? Or did they look up to see his men on their horses, with their sharp swords and their spears, and realize they had no alternative?
I do not know. I was not there; I was not scrying. I can only imagine...
Hands, pulling off the lumps of glass and quartz from her cold body. Hands, gently caressing her cold cheek, moving her cold arm, rejoicing to find the corpse still fresh and pliable.
Did he take her there, in front of them all? Or did he have her carried to a secluded nook before he mounted her?
I cannot say.
Did he shake the apple from her throat? Or did her eyes slowly open as he pounded into her cold body; did her mouth open, those red lips part, those sharp yellow teeth close on his swarthy neck, as the blood, which is the life, trickled down her throat, washing down and away the lump of apple, my own, my poison?
I imagine; I do not know.
This I do know: I was woken in the night by her heart pulsing and beating once more. Salt blood dripped onto my face from above. I sat up. My hand burned and pounded as if I had hit the base of my thumb with a rock.
There was a hammering on the door. I felt afraid, but I am a queen, and I would not show fear. I opened the door.
First his men walked in to my chamber, and stood around me, with their sharp swords, and their long spears.
Then he came in; and he spat in my face.
Finally, she walked into my chamber, as she had when I was first a queen, and she was a child of six. She had not changed. Not really.
She pulled down the twine on which her heart was hanging. She pulled off the dried rowan berries, one by one; pulled off the garlic bulb - now a dried thing, after all these years; then she took up her own, her pumping heart -- a small thing, no larger than that of a nanny-goat or a she-bear -- as it brimmed and pumped its blood into her hand.
Her fingernails must have been as sharp as glass: she opened her breast with them, running them over the purple scar. Her chest gaped, suddenly, open and bloodless. She licked her heart, once, as the blood ran over her hands, and she pushed the heart deep into her breast.
I saw her do it. I saw her close the flesh of her breast once more. I saw the purple scar begin to fade.
Her prince looked briefly concerned, but he put his arm around her nonetheless, and they stood, side by side, and they waited.
And she stayed cold, and the bloom of death remained on her lips, and his lust was not diminished in any way.
They told me they would marry, and the kingdoms would indeed be joined. They told me that I would be with them on their wedding day.
It is starting to get hot in here.
They have told the people bad things about me; a little truth to add savour to the dish, but mixed with many lies.
I was bound and kept in a tiny stone cell beneath the palace, and I remained there through the autumn. Today they fetched me out of the cell; they stripped the rags from me, and washed the filth from me, and then they shaved my head and my loins, and they rubbed my skin with goose grease.
The snow was falling as they carried me -- two men at each hand, two men at each leg -- utterly exposed, and spread-eagled and cold, through the midwinter crowds; and brought me to this kiln.
My stepdaughter stood there with her prince. She watched me, in my indignity, but she said nothing.
As they thrust me inside, jeering and chaffing as they did so, I saw one snowflake land upon her white cheek, and remain there without melting.
They closed the kiln-door behind me. It is getting hotter in here, and outside they are singing and cheering and banging on the sides of the kiln.
She was not laughing, or jeering, or talking. She did not sneer at me or turn away. She looked at me, though; and for a moment I saw myself reflected in her eyes.
I will not scream. I will not give them that satisfaction. They will have my body, but my soul and my story are my own, and will die with me.
The goose-grease begins to melt and glisten upon my skin. I shall make no sound at all. I shall think no more on this.
I shall think instead of the snowflake on her cheek.
I think of her hair as black as coal, her lips as red as blood, her skin, snow-white.
(1994)

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Theatrical release poster for Nosferatu the Vampyre (1979) directed by Werner Herzog
Title page for Notte di Carnevale (1981) by Andrea Pazienza (1956 - 1988)
"The naked hulk alongside came, And the twain were casting dice; `The game is done! I’ve won! I’ve won!’ Quoth she, and whistles thrice."
Illustration for Coleridge's Rime of the Ancient Mariner by Joseph Noel Paton (1821 - 1901) published by the Art-Union of London in 1863
"The dagger dropped gleaming upon the sable carpet"
Illustration of The Masque of the Red Death by Harry Clarke (1889 - 1931) for Edgar Allan Poe's Tales of Mystery and Imagination published by London's George Harrap & Co. (1919)
The Masque of the Red Death
by Edgar Allan Poe (1809 - 1849)
The "Red Death" had long devastated the country. No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal -- the redness and the horror of blood. There were sharp pains, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. The scarlet stains upon the body and especially upon the face of the victim, were the pest ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress and termination of the disease, were the incidents of half an hour.
But the Prince Prospero was happy and dauntless and sagacious. When his dominions were half depopulated, he summoned to his presence a thousand hale and light-hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his castellated abbeys. This was an extensive and magnificent structure, the creation of the prince's own eccentric yet august taste. A strong and lofty wall girdled it in. This wall had gates of iron. The courtiers, having entered, brought furnaces and massy hammers and welded the bolts. They resolved to leave means neither of ingress or egress to the sudden impulses of despair or of frenzy from within. The abbey was amply provisioned. With such precautions the courtiers might bid defiance to contagion. The external world could take care of itself. In the meantime it was folly to grieve, or to think. The prince had provided all the appliances of pleasure. There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine. All these and security were within. Without was the "Red Death."
It was toward the close of the fifth or sixth month of his seclusion, and while the pestilence raged most furiously abroad, that the Prince Prospero entertained his thousand friends at a masked ball of the most unusual magnificence.
It was a voluptuous scene, that masquerade. But first let me tell of the rooms in which it was held. There were seven -- an imperial suite. In many palaces, however, such suites form a long and straight vista, while the folding doors slide back nearly to the walls on either hand, so that the view of the whole extent is scarcely impeded. Here the case was very different; as might have been expected from the duke's love of the bizarre. The apartments were so irregularly disposed that the vision embraced but little more than one at a time. There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect. To the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor which pursued the windings of the suite. These windows were of stained glass whose color varied in accordance with the prevailing hue of the decorations of the chamber into which it opened. That at the eastern extremity was hung, for example, in blue -- and vividly blue were its windows. The second chamber was purple in its ornaments and tapestries, and here the panes were purple. The third was green throughout, and so were the casements. The fourth was furnished and lighted with orange -- the fifth with white -- the sixth with violet. The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. But in this chamber only, the color of the windows failed to correspond with the decorations. The panes here were scarlet -- a deep blood color. Now in no one of the seven apartments was there any lamp or candelabrum, amid the profusion of golden ornaments that lay scattered to and fro or depended from the roof. There was no light of any kind emanating from lamp or candle within the suite of chambers. But in the corridors that followed the suite, there stood, opposite to each window, a heavy tripod, bearing a brazier of fire that protected its rays through the tinted glass and so glaringly illumined the room. And thus were produced a multitude of gaudy and fantastic appearances. But in the western or black chamber the effect of the fire-light that streamed upon the dark hangings through the blood-tinted panes, was ghastly in the extreme, and produced so wild a look upon the countenances of those who entered, that there were few of the company bold enough to set foot within its precincts at all.
It was in this apartment, also, that there stood against the western wall, a gigantic clock of ebony. Its pendulum swung to and fro with a dull, heavy, monotonous clang; and when the minute-hand made the circuit of the face, and the hour was to be stricken, there came from the brazen lungs of the clock a sound which was clear and loud and deep and exceedingly musical, but of so peculiar a note and emphasis that, at each lapse of an hour, the musicians of the orchestra were constrained to pause, momentarily, in their performance, to hearken to the sound; and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew pale, and the more aged and sedate passed their hands over their brows as if in confused reverie or meditation. But when the echoes had fully ceased, a light laughter at once pervaded the assembly; the musicians looked at each other and smiled as if at their own nervousness and folly, and made whispering vows, each to the other, that the next chiming of the clock should produce in them no similar emotion; and then, after the lapse of sixty minutes, (which embrace three thousand and six hundred seconds of the Time that flies,) there came yet another chiming of the clock, and then were the same disconcert and tremulousness and meditation as before.
But, in spite of these things, it was a gay and magnificent revel. The tastes of the duke were peculiar. He had a fine eye for colors and effects. He disregarded the decora of mere fashion. His plans were bold and fiery, and his conceptions glowed with barbaric lustre. There are some who would have thought him mad. His followers felt that he was not. It was necessary to hear and see and touch him to be sure that he was not.
He had directed, in great part, the moveable embellishments of the seven chambers, upon occasion of this great fete; and it was his own guiding taste which had given character to the masqueraders. Be sure they were grotesque. There were much glare and glitter and piquancy and phantasm -- much of what has been since seen in "Hernani." There were arabesque figures with unsuited limbs and appointments. There were delirious fancies such as the madman fashions. There was much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of that which might have excited disgust. To and fro in the seven chambers there stalked, in fact, a multitude of dreams. And these -- the dreams -- writhed in and about, taking hue from the rooms, and causing the wild music of the orchestra to seem as the echo of their steps. And, anon, there strikes the ebony clock which stands in the hall of the velvet. And then, for a moment, all is still, and all is silent save the voice of the clock. The dreams are stiff-frozen as they stand. But the echoes of the chime die away -- they have endured but an instant -- and a light, half-subdued laughter floats after them as they depart. And now again the music swells, and the dreams live, and writhe to and fro more merrily than ever, taking hue from the many-tinted windows through which stream the rays from the tripods. But to the chamber which lies most westwardly of the seven, there are now none of the maskers who venture; for the night is waning away; and there flows a ruddier light through the blood-colored panes; and the blackness of the sable drapery appals; and to him whose foot falls upon the sable carpet, there comes from the near clock of ebony a muffled peal more solemnly emphatic than any which reaches their ears who indulge in the more remote gaieties of the other apartments.
But these other apartments were densely crowded, and in them beat feverishly the heart of life. And the revel went whirlingly on, until at length there commenced the sounding of midnight upon the clock. And then the music ceased, as I have told; and the evolutions of the waltzers were quieted; and there was an uneasy cessation of all things as before. But now there were twelve strokes to be sounded by the bell of the clock; and thus it happened, perhaps, that more of thought crept, with more of time, into the meditations of the thoughtful among those who revelled. And thus, too, it happened, perhaps, that before the last echoes of the last chime had utterly sunk into silence, there were many individuals in the crowd who had found leisure to become aware of the presence of a masked figure which had arrested the attention of no single individual before. And the rumor of this new presence having spread itself whisperingly around, there arose at length from the whole company a buzz, or murmur, expressive of disapprobation and surprise -- then, finally, of terror, of horror, and of disgust.
In an assembly of phantasms such as I have painted, it may well be supposed that no ordinary appearance could have excited such sensation. In truth the masquerade license of the night was nearly unlimited; but the figure in question had out-Heroded Herod, and gone beyond the bounds of even the prince's indefinite decorum. There are chords in the hearts of the most reckless which cannot be touched without emotion. Even with the utterly lost, to whom life and death are equally jests, there are matters of which no jest can be made. The whole company, indeed, seemed now deeply to feel that in the costume and bearing of the stranger neither wit nor propriety existed. The figure was tall and gaunt, and shrouded from head to foot in the habiliments of the grave. The mask which concealed the visage was made so nearly to resemble the countenance of a stiffened corpse that the closest scrutiny must have had difficulty in detecting the cheat. And yet all this might have been endured, if not approved, by the mad revellers around. But the mummer had gone so far as to assume the type of the Red Death. His vesture was dabbled in blood -- and his broad brow, with all the features of the face, was besprinkled with the scarlet horror.
When the eyes of Prince Prospero fell upon this spectral image (which with a slow and solemn movement, as if more fully to sustain its role, stalked to and fro among the waltzers) he was seen to be convulsed, in the first moment with a strong shudder either of terror or distaste; but, in the next, his brow reddened with rage.
"Who dares?" he demanded hoarsely of the courtiers who stood near him -- "who dares insult us with this blasphemous mockery? Seize him and unmask him -- that we may know whom we have to hang at sunrise, from the battlements!"
It was in the eastern or blue chamber in which stood the Prince Prospero as he uttered these words. They rang throughout the seven rooms loudly and clearly -- for the prince was a bold and robust man, and the music had become hushed at the waving of his hand.
It was in the blue room where stood the prince, with a group of pale courtiers by his side. At first, as he spoke, there was a slight rushing movement of this group in the direction of the intruder, who at the moment was also near at hand, and now, with deliberate and stately step, made closer approach to the speaker. But from a certain nameless awe with which the mad assumptions of the mummer had inspired the whole party, there were found none who put forth hand to seize him; so that, unimpeded, he passed within a yard of the prince's person; and, while the vast assembly, as if with one impulse, shrank from the centres of the rooms to the walls, he made his way uninterruptedly, but with the same solemn and measured step which had distinguished him from the first, through the blue chamber to the purple -- through the purple to the green -- through the green to the orange -- through this again to the white -- and even thence to the violet, ere a decided movement had been made to arrest him. It was then, however, that the Prince Prospero, maddening with rage and the shame of his own momentary cowardice, rushed hurriedly through the six chambers, while none followed him on account of a deadly terror that had seized upon all. He bore aloft a drawn dagger, and had approached, in rapid impetuosity, to within three or four feet of the retreating figure, when the latter, having attained the extremity of the velvet apartment, turned suddenly and confronted his pursuer. There was a sharp cry -- and the dagger dropped gleaming upon the sable carpet, upon which, instantly afterwards, fell prostrate in death the Prince Prospero. Then, summoning the wild courage of despair, a throng of the revellers at once threw themselves into the black apartment, and, seizing the mummer, whose tall figure stood erect and motionless within the shadow of the ebony clock, gasped in unutterable horror at finding the grave-cerements and corpse-like mask which they handled with so violent a rudeness, untenanted by any tangible form.
And now was acknowledged the presence of the Red Death. He had come like a thief in the night. And one by one dropped the revellers in the blood-bedewed halls of their revel, and died each in the despairing posture of his fall. And the life of the ebony clock went out with that of the last of the gay. And the flames of the tripods expired. And Darkness and Decay and the Red Death held illimitable dominion over all.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Plate 11: The Death-Fires Danced at Night (1876) by Gustave Doré (1832 - 1883) Part of Illustrations to the Rime of the Ancient Mariner
A word that does not exist in the English language:
Ya’aburnee Arabic – Both morbid and beautiful at once, this incantatory word means “You bury me,” a declaration of one’s hope that they’ll die before another person because of how difficult it would be to live without them.