Tanith Lee - Bite-Me-Not or Fleur De Feu.pdf - Tanith Lee - widez2

TANITH LEE (born 1847) began her career in England writing stories for young readers, but with

the American publication of her first adult novel, THE BIRTHGRAVE (1975), she won an instant

reputation as a fantasist. A prolific author, Lee followed up her first success with a long list of

novels that cover the range of science fiction, fantasy, horror, and sword-and-sorcery.

Her short novel Sabella, or the Blood Stone (1980) crosses genre categories as it tells the tale —

erotic, colorful, and intense, like most of Lee's stories — of a female vampire on a future Mars .

"Bite-Me-Not" is a good example of Lee's rich style and imagination and promises to be one of

the most memorable vampire tales of the 1980s.

Bite-Me-Not

or, Fleur De Feu

(1984)

BY TANITH LEE

CHAPTER I

In the tradition of young girls and windows, the young girl looks out of this one. It is difficult to see

anything. The panes of the window are heavily leaded, and secured by a lattice of iron. The stained glass

of lizard-green and storm-purple is several inches thick. There is no red glass in the window. The colour

red is forbidden in the castle. Even the sun, behind the glass, is a storm sun, a green-lizard sun.

The young girl wishes she had a gown of palest pastel rose—the nearest affinity to red which is never

allowed. Already she has long dark beautiful eyes, a long white neck. Her long dark hair is however

hidden in a dusty scarf and she wears rags. She is a scullery maid. As she scours dishes and mops stone

floors, she imagines she is a princess floating through the upper corridors, gliding to the dais in the Duke's

hall. The Cursed Duke. She is sorry for him. If he had been her father, she would have sympathized and

consoled him. His own daughter is dead, as his wife is dead, but these things, being to do with the

cursing, are never spoken of. Except, sometimes, obliquely.

" Rohise !" dim voices cry now, full of dim scolding soon to be actualized.

The scullery maid turns from the window and runs to have her ears boxed and a broom thrust into her

hands.

Meanwhile, the Cursed Duke is prowling his chamber, high in the East Turret carved with swans and

gargoyles. The room is lined with books, swords, lutes, scrolls, and has two eerie portraits, the larger of

which represents his wife, and the smaller his daughter. Both ladies look much the same with their pale,

egg-shaped faces, polished eyes, clasped hands. They do not really look like his wife or daughter, nor

really remind him of them.

There are no windows at all in the turret, they were long ago bricked up and covered with hangings.

Candles burn steadily. It is always night in the turret. Save, of course, by night there are particular sounds

all about it, to which the Duke is accustomed, but which he does not care for. By night, like most of his

court, the Cursed Duke closes his ears with softened tallow. However, if he sleeps, he dreams, and hears

in the dream the beating of wings… Often, the court holds loud revel all night long.

The Duke does not know Rohise the scullery maid has been thinking of him. Perhaps he does not even

know that a scullery maid is capable of thinking at all.

Soon the Duke descends from the turret and goes down, by various stairs and curving passages, into a

large, walled garden on the east side of the castle.

It is a very pretty garden, mannered and manicured, which the gardeners keep in perfect order. Over the

tops of the high, high walls, where delicate blooms bell the vines, it is just possible to glimpse the tips of

sun-baked mountains. But by day the mountains are blue and spiritual to look at, and seem scarcely real.

They might only be inked on the sky.

A portion of the Duke's court is wandering about in the garden, playing games or musical instruments, or

admiring painted sculptures, or the flora, none of which is red. But the Cursed Duke's court seems

vitiated this noon. Nights of revel take their toll. As the Duke passes down the garden, his courtiers

acknowledge him deferentially. He sees them, old and young alike, all doomed as he is, and the weight of

his burden increases.

At the furthest, most eastern end of the garden, there is another garden, sunken and rather curious,

beyond a wall with an iron door.

Only the Duke possesses the key to this door. Now he unlocks it and goes through. His courtiers laugh

and play and pretend not to see. He shuts the door behind him.

The sunken garden, which no gardener ever tends, is maintained by other, spontaneous, means. It is small

and square, lacking the hedges and the paths of the other, the sundials and statues and little pools. All the

sunken garden contains is a broad paved border, and at its center a small plot of humid earth. Growing in

the earth is a slender bush with slender velvet leaves.

The Duke stands and looks at the bush only a short while.

He visits it every day. He has visited it every day for years. He is waiting for the bush to flower. Everyone

is waiting for this. Even Rohise, the scullery maid, is waiting, though she does not, being only sixteen,

born in the castle and uneducated, properly understand why.

The light in the little garden is dull and strange, for the whole of it is roofed over by a dome of thick

smoky glass. It makes the atmosphere somewhat depressing, although the bush itself gives off a pleasant

smell, rather resembling vanilla.

Something is cut into the stone rim of the earth-plot where the bush grows. The Duke reads it for perhaps

the thousandth time. O, fleur de feu —

When the Duke returns from the little garden into the large garden, locking the door behind him, no one

seems truly to notice. But their obeisances now are circumspect.

One day, he will perhaps emerge from the sunken garden leaving the door wide, crying out in a great

voice. But not yet. Not today.

The ladies bend to the bright fish in the pools, the knights pluck for them blossoms, challenge each other

to combat at chess, or wrestling, discuss the menagerie lions; the minstrels sing of unrequited love. The

pleasure garden is full of one long and weary sigh.

"Oh flurda fur

"Pourma souffrance—"

Sings Rohise as she scrubs the flags of the pantry floor.

"Ned ormey par,

"May say day mwar—"

"What are you singing, you slut?" someone shouts, and kicks over her bucket.

Rohise does not weep. She tidies her bucket and soaks up the spilled water with her cloths. She does

not know what the song, because of which she seems, apparently, to have been chastised, means. She

does not understand the words that somehow, somewhere—perhaps from her own dead mother—she

learned by rote.

In the hour before sunset, the Duke's hall is lit by flambeaux. In the high windows, the casements of

oil-blue and lavender glass and glass like storms and lizards, are fastened tight. The huge window by the

dais was long ago obliterated, shut up, and a tapestry hung of gold and silver tissue with all the rubies

pulled out and emeralds substituted. It describes the subjugation of a fearsome unicorn by a maiden, and

huntsmen.

The court drifts in with its clothes of rainbow from which only the color red is missing.

Music for dancing plays. The lean pale dogs pace about, alert for tidbits as dish on dish comes in. Roast

birds in all their plumage glitter and die a second time under the eager knives. Pastry castles fall. Pink and

amber fruits, and green fruits and black, glow beside the goblets of fine yellow wine.

The Cursed Duke eats with care and attention, not with enjoyment. Only the very young of the castle still

eat in that way, and there are not so many of those.

The murky sun slides through the stained glass. The musicians strike up more wildly. The dances become

boisterous. Once the day goes out, the hall will ring to chanson , to drum and viol and pipe. The dogs will

bark, no language will be uttered except in a bellow. The lions will roar from the menagerie. On some

nights the cannons are set off from the battlements, which are now all of them roofed in, fired out through

narrow mouths just wide enough to accommodate them, the charge crashing away in thunder down the

darkness.

By the time the moon comes up and the castle rocks to its own cacophony, exhausted Rohise has fallen

fast asleep in her cupboard bed in the attic. For years, from sunset to rise, nothing has woken her. Once,

as a child, when she had been especially badly beaten, the pain woke her and she heard a strange silken

scratching, somewhere over her head. But she thought it a rat, or a bird. Yes, a bird, for later it seemed

to her there were also wings… But she forgot all this half a decade ago. Now she sleeps deeply and

dreams of being a princess, forgetting, too, how the Duke's daughter died. Such a terrible death, it is

better to forget.

"The sun shall not smite thee by day, neither the moon by night," intones the priest, eyes rolling, his voice

like a bell behind the Duke's shoulder.

"Ne moi mords pas," whispers Rohise in her deep sleep. "Ne mwar mor par, ne par mor mwar…"

And under its impenetrable dome, the slender bush has closed its fur leaves also to sleep. O flower of

fire, oh fleur de fur. Its blooms, though it has not bloomed yet, bear the ancient name Nona Mordica . In

light parlance they call it Bite-Me-Not. There is a reason for that.

CHAPTER II

He is the Prince of a proud and savage people. The pride they acknowledge, perhaps they do not

consider themselves to be savages, or at least believe that savagery is the proper order of things.

Feroluce, that is his name. It is one of the customary names his kind give their lords. It has connotations

with diabolic royalty and, too, with a royal flower of long petals curved like scimitars. Also the name

might be the partial anagram of another name. The bearer of that name was also winged.

For Feroluce and his people are winged beings. They are more like a nest of dark eagles than anything,

mounted high among the rocky pilasters and pinnacles of the mountain. Cruel and magnificent, like eagles,

the somber sentries motionless as statuary on the ledge-edges, their sable wings folded about them.

They are very alike in appearance (less a race or tribe, more a flock, an unkindness of ravens). Feroluce

also, black-winged, black-haired, aquiline of feature, standing on the brink of star-dashed space, his eyes

burning through the night like all the eyes along the rocks, depthless red as claret.

They have their own traditions of art and science. They do not make or read books, fashion garments,

discuss God or metaphysics or men. Their cries are mostly wordless and always mysterious, flung out

like ribbons over the air as they wheel and swoop and hang in wicked cruciform, between the peaks. But

they sing, long hours, for whole nights at a time, music that has a language only they know. All their

wisdom and theosophy, and all their grasp of beauty, truth or love, is in the singing.

They look unloving enough, and so they are. Pitiless fallen angels. A traveling people, they roam after

sustenance. Their sustenance is blood. Finding a castle, they accepted it, every bastion and wall, as their

prey. They have preyed on it and tried to prey on it for years.

In the beginning, their calls, their songs, could lure victims to the feast. In this way, the tribe or unkindness

of Feroluce took the Duke's wife, somnambulist, from a midnight balcony. But the Duke's daughter, the

first victim, they found seventeen years ago, benighted on the mountain side. Her escort and herself they

left to the sunrise, marble figures, the life drunk away.

Now the castle is shut, bolted and barred. They are even more attracted by its recalcitrance (a woman

who says "No"). They do not intend to go away until the castle falls to them.

By night, they fly like huge black moths round and round the carved turrets, the dull-lit leaded windows,

their wings invoking a cloudy tindery wind, pushing thunder against thundery glass.

They sense they are attributed to some sin, reckoned a punishing curse, a penance, and this amuses them

at the level whereon they understand it.

They also sense something of the flower, the Nona Mordica . Vampires have their own legends.

But tonight Feroluce launches himself into the air, speeds down the sky on the black sails of his wings,

calling, a call like laughter or derision. This morning, in the tween-time before the light began and the

sun-to-be drove him away to his shadowed eyrie in the mountain-guts, he saw a chink in the armour of

the beloved refusing-woman-prey. A window, high in an old neglected tower, a window with a small

eyelet which was cracked.

Feroluce soon reaches the eyelet and breathes on it, as if he would melt it. (His breath is sweet.

Vampires do not eat raw flesh, only blood, which is a perfect food and digests perfectly, while their teeth

are sound of necessity.) The way the glass mists at breath intrigues Feroluce. But presently he taps at the

cranky pane, taps, then claws. A piece breaks away, and now he sees how it should be done.

Over the rims and upthrusts of the castle, which is only really another mountain with caves to Feroluce,

the rumble of the Duke's revel drones on.

Feroluce pays no heed. He does not need to reason, he merely knows, that noise masks this —as he

smashes in the window. Its panes were all faulted and the lattice rusty. It is, of course, more than that.

The magic of Purpose has protected the castle, and, as in all balances, there must be, or come to be,

some balancing contradiction, some flaw…

The people of Feroluce do not notice what he is at. In a way, the dance with their prey has debased to a

ritual. They have lived almost two decades on the blood of local mountain beasts, and bird-creatures like

themselves brought down on the wing. Patience is not, with them, a virtue. It is a sort of foreplay, and can

go on, in pleasure, a long, long while.

Feroluce intrudes himself through the slender window. Muscularly slender himself, and agile, it is no feat.

But the wings catch, are a trouble. They follow him because they must, like two separate entities. They

have been cut a little on the glass, and bleed.

He stands in a stony small room, shaking bloody feathers from him, snarling, but without sound.

Then he finds the stairway and goes down.

There are dusty landings and neglected chambers. They have no smell of life. But then there comes to be

a smell. It is the scent of a nest, a colony of things, wild creatures, in constant proximity. He recognizes it.

The light of his crimson eyes precedes him, deciphering blackness. And then other eyes, amber, green

and gold, spring out like stars all across his path.

Somewhere an old torch is burning out. To the human eye, only mounds and glows would be visible, but

to Feroluce, the Prince of the vampires, all is suddenly revealed. There is a great stone area, barred with

bronze and iron, and things stride and growl behind the bars, or chatter and flee, or only stare. And there,

without bars, though bound •by ropes of brass to rings of brass, three brazen beasts.

Feroluce, on the steps of the menagerie, looks into the gaze of the Duke's lions. Feroluce smiles, and the

lions roar. One is the king, its mane like war-plumes. Feroluce recognizes the king and the king's right to

challenge, for this is the lions' domain, their territory.

Feroluce comes down the stair and meets the lion as it leaps the length of its chain. To Feroluce, the

chain means nothing, and since he has come close enough, very little either to the lion.

To the vampire Prince the fight is wonderful, exhilarating and meaningful, intellectual even, for it is colored

by nuance, yet powerful as sex.

He holds fast with his talons, his strong limbs wrapping the beast which is almost stronger than he, just as

its limbs wrap him in turn. He sinks his teeth in the lion's shoulder, and in fierce rage and bliss begins to

draw out the nourishment. The lion kicks and claws at him in turn. Feroluce feels the gouges like fire

along his shoulders, thighs, and hugs the lion more nearly as he throttles and drinks from it, loving it,

jealous of it, killing it. Gradually the mighty feline body relaxes, still clinging to him, its cat teeth bedded in

one beautiful swanlike wing, forgotten by both.

In a welter of feathers, stripped skin, spilled blood, the lion and the angel lie in embrace on the menagerie

floor. The lion lifts its head, kisses the assassin, shudders, lets go.

Feroluce glides out from under the magnificent deadweight of the cat. He stands. And pain assaults him.

His lover has severely wounded him.

Across the menagerie floor, the two lionesses are crouched. Beyond them, a man stands gaping in simple

terror, behind the guttering torch. He had come to feed the beasts, and seen another feeding, and now is

paralyzed. He is deaf, the menagerie-keeper, previously an advantage saving him the horror of nocturnal

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