The Room in the Dragon Volant — Background and Themes
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For The Room in the Dragon Volant — Background and Themes, the stored edition analysis reports 48,601 words, 3 hr 32 min estimated reading time, and 7 detected text sections.
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She was now rolling away, with a train of dust behind her wheels in the golden sunlight, and a wise young gentleman followed her with ardent eyes and sighed profoundly as the distance increased.
I told the postilions on no account to pass the carriage, but to keep it steadily in view, and to pull up at whatever posting-house it should stop at. We were soon in the little town, and the carriage we followed drew up at the Belle Étoile, a comfortable old inn. They got out of the carriage and entered the house.
At a leisurely pace we followed. I got down, and mounted the steps listlessly, like a man quite apathetic and careless.
Audacious as I was, I did not care to inquire in what room I should find them. I peeped into the apartment to my right, and then into that on my left. _My_ people were not there. I ascended the stairs. A drawing-room door stood open. I entered with the most innocent air in the world. It was a spacious room, and, beside myself, contained but one living figure--a very pretty and lady-like one. There was the very bonnet with which I had fallen in love. The lady stood with her back toward me. I could not tell whether the envious veil was raised; she was reading a letter.
I stood for a minute in fixed attention, gazing upon her, in vague hope that she might turn about and give me an opportunity of seeing her features. She did not; but with a step or two she placed herself before a little cabriole-table, which stood against the wall, from which rose a tall mirror in a tarnished frame.
I might, indeed, have mistaken it for a picture; for it now reflected a half-length portrait of a singularly beautiful woman.
She was looking down upon a letter which she held in her slender fingers, and in which she seemed absorbed.
The face was oval, melancholy, sweet. It had in it, nevertheless, a faint and undefinably sensual quality also. Nothing could exceed the delicacy of its features, or the brilliancy of its tints. The eyes, indeed, were lowered, so that I could not see their color; nothing but their long lashes and delicate eyebrows. She continued reading. She must have been deeply interested; I never saw a living form so motionless--I gazed on a tinted statue.
Being at that time blessed with long and keen vision, I saw this beautiful face with perfect distinctness. I saw even the blue veins that traced their wanderings on the whiteness of her full throat.
I ought to have retreated as noiselessly as I came in, before my presence was detected. But I was too much interested to move from the spot, for a few moments longer; and while they were passing, she raised her eyes. Those eyes were large, and of that hue which modern poets term "violet."
These splendid melancholy eyes were turned upon me from the glass, with a haughty stare, and hastily the lady lowered her black veil, and turned about.
I fancied that she hoped I had not seen her. I was watching every look and movement, the minutest, with an attention as intense as if an ordeal involving my life depended on them.
THE INN-YARD OF THE BELLE ÉTOILE
The face was, indeed, one to fall in love with at first sight. Those sentiments that take such sudden possession of young men were now dominating my curiosity. My audacity faltered before her; and I felt that my presence in this room was probably an impertinence. This point she quickly settled, for the same very sweet voice I had heard before, now said coldly, and this time in French, "Monsieur cannot be aware that this apartment is not public."
I bowed very low, faltered some apologies, and backed to the door.
I suppose I looked penitent, and embarrassed. I certainly felt so; for the lady said, by way it seemed of softening matters, "I am happy, however, to have an opportunity of again thanking Monsieur for the assistance, so prompt and effectual, which he had the goodness to render us today."
It was more the altered tone in which it was spoken, than the speech itself, that encouraged me. It was also true that she need not have recognized me; and if she had, she certainly was not obliged to thank me over again.
All this was indescribably flattering, and all the more so that it followed so quickly on her slight reproof. The tone in which she spoke had become low and timid, and I observed that she turned her head quickly towards a second door of the room; I fancied that the gentleman in the black wig, a jealous husband perhaps, might reappear through it. Almost at the same moment, a voice at once reedy and nasal was heard snarling some directions to a servant, and evidently approaching. It was the voice that had thanked me so profusely, from the carriage windows, about an hour before.
"Monsieur will have the goodness to retire," said the lady, in a tone that resembled entreaty, at the same time gently waving her hand toward the door through which I had entered. Bowing again very low, I stepped back, and closed the door.
I ran down the stairs, very much elated. I saw the host of the Belle Étoile which, as I said, was the sign and designation of my inn.
I described the apartment I had just quitted, said I liked it, and asked whether I could have it.
He was extremely troubled, but that apartment and two adjoining rooms were engaged.
"People of distinction."
"But who are they? They must have names or titles."
"Undoubtedly, Monsieur, but such a stream is rolling into Paris, that we have ceased to inquire the names or titles of our guests--we designate them simply by the rooms they occupy."
"What stay do they make?"
"Even that, Monsieur, I cannot answer. It does not interest us. Our rooms, while this continues, can never be, for a moment, disengaged."
"I should have liked those rooms so much! Is one of them a sleeping apartment?"
"Yes, sir, and Monsieur will observe that people do not usually engage bedrooms unless they mean to stay the night."
"Well, I can, I suppose, have some rooms, any, I don't care in what part of the house?"
"Certainly, Monsieur can have two apartments. They are the last at present disengaged."
I took them instantly.
It was plain these people meant to make a stay here; at least they would not go till morning. I began to feel that I was all but engaged in an adventure.
I took possession of my rooms, and looked out of the window, which I found commanded the inn-yard. Many horses were being liberated from the traces, hot and weary, and others fresh from the stables being put to. A great many vehicles--some private carriages, others, like mine, of that public class which is equivalent to our old English post-chaise, were standing on the pavement, waiting their turn for relays. Fussy servants were to-ing and fro-ing, and idle ones lounging or laughing, and the scene, on the whole, was animated and amusing.
Among these objects, I thought I recognized the traveling carriage, and one of the servants of the "persons of distinction" about whom I was, just then, so profoundly interested.
I therefore ran down the stairs, made my way to the back door; and so, behold me, in a moment, upon the uneven pavement, among all these sights and sounds which in such a place attend upon a period of extraordinary crush and traffic. By this time the sun was near its setting, and threw its golden beams on the red brick chimneys of the offices, and made the two barrels, that figured as pigeon-houses, on the tops of poles, look as if they were on fire. Everything in this light becomes picturesque; and things interest us which, in the sober grey of morning, are dull enough.
After a little search I lighted upon the very carriage of which I was in quest. A servant was locking one of the doors, for it was made with the security of lock and key. I paused near, looking at the panel of the door.
"A very pretty device that red stork!" I observed, pointing to the shield on the door, "and no doubt indicates a distinguished family?"
The servant looked at me for a moment, as he placed the little key in his pocket, and said with a slightly sarcastic bow and smile, "Monsieur is at liberty to conjecture."
Nothing daunted, I forthwith administered that laxative which, on occasion, acts so happily upon the tongue--I mean a "tip."
The servant looked at the Napoleon in his hand, and then in my face, with a sincere expression of surprise. "Monsieur is very generous!"
"Not worth mentioning--who are the lady and gentleman who came here in this carriage, and whom, you may remember, I and my servant assisted today in an emergency, when their horses had come to the ground?"
"They are the Count, and the young lady we call the Countess--but I know not, she may be his daughter."
"Can you tell me where they live?"
"Upon my honor, Monsieur, I am unable--I know not."
"Not know where your master lives! Surely you know something more about him than his name?"
"Nothing worth relating, Monsieur; in fact, I was hired in Brussels, on the very day they started. Monsieur Picard, my fellow-servant, Monsieur the Comte's gentleman, he has been years in his service, and knows everything; but he never speaks except to communicate an order. From him I have learned nothing. We are going to Paris, however, and there I shall speedily pick up all about them. At present I am as ignorant of all that as Monsieur himself."
"And where is Monsieur Picard?"
"He has gone to the cutler's to get his razors set. But I do not think he will tell anything."
This was a poor harvest for my golden sowing. The man, I think, spoke truth, and would honestly have betrayed the secrets of the family, if he had possessed any. I took my leave politely; and mounting the stairs again, I found myself once more in my room.
Forthwith I summoned my servant. Though I had brought him with me from England, he was a native of France--a useful fellow, sharp, bustling, and, of course, quite familiar with the ways and tricks of his countrymen.
"St. Clair, shut the door; come here. I can't rest till I have made out something about those people of rank who have got the apartments under mine. Here are fifteen francs; make out the servants we assisted today have them to a _petit souper_, and come back and tell me their entire history. I have, this moment, seen one of them who knows nothing, and has communicated it. The other, whose name I forget, is the unknown nobleman's valet, and knows everything. Him you must pump. It is, of course, the venerable peer, and not the young lady who accompanies him, that interests me--you understand? Begone! fly! and return with all the details I sigh for, and every circumstance that can possibly interest me."
It was a commission which admirably suited the tastes and spirits of my worthy St. Clair, to whom, you will have observed, I had accustomed myself to talk with the peculiar familiarity which the old French comedy establishes between master and valet.
I am sure he laughed at me in secret; but nothing could be more polite and deferential.
With several wise looks, nods and shrugs, he withdrew; and looking down from my window, I saw him with incredible quickness enter the yard, where I soon lost sight of him among the carriages.
DEATH AND LOVE TOGETHER MATED
When the day drags, when a man is solitary, and in a fever of impatience and suspense; when the minute hand of his watch travels as slowly as the hour hand used to do, and the hour hand has lost all appreciable motion; when he yawns, and beats the devil's tattoo, and flattens his handsome nose against the window, and whistles tunes he hates, and, in short, does not know what to do with himself, it is deeply to be regretted that he cannot make a solemn dinner of three courses more than once in a day. The laws of matter, to which we are slaves, deny us that resource.
But in the times I speak of, supper was still a substantial meal, and its hour was approaching. This was consolatory. Three-quarters of an hour, however, still interposed. How was I to dispose of that interval?
I had two or three idle books, it is true, as companions-companions; but there are many moods in which one cannot read. My novel lay with my rug and walking-stick on the sofa, and I did not care if the heroine and the hero were both drowned together in the water barrel that I saw in the inn-yard under my window. I took a turn or two up and down my room, and sighed, looking at myself in the glass, adjusted my great white "choker," folded and tied after Brummel, the immortal "Beau," put on a buff waist-coat and my blue swallow-tailed coat with gilt buttons; I deluged my pocket-handkerchief with Eau-de-Cologne (we had not then the variety of bouquets with which the genius of perfumery has since blessed us) I arranged my hair, on which I piqued myself, and which I loved to groom in those days. That dark-brown _chevelure_, with a natural curl, is now represented by a few dozen perfectly white hairs, and its place--a smooth, bald, pink head--knows it no more. But let us forget these mortifications. It was then rich, thick, and dark-brown. I was making a very careful toilet. I took my unexceptionable hat from its case, and placed it lightly on my wise head, as nearly as memory and practice enabled me to do so, at that very slight inclination which the immortal person I have mentioned was wont to give to his. A pair of light French gloves and a rather club-like knotted walking-stick, such as just then came into vogue for a year or two again in England, in the phraseology of Sir Walter Scott's romances "completed my equipment."
All this attention to effect, preparatory to a mere lounge in the yard, or on the steps of the Belle Étoile, was a simple act of devotion to the wonderful eyes which I had that evening beheld for the first time, and never, never could forget! In plain terms, it was all done in the vague, very vague hope that those eyes might behold the unexceptionable get-up of a melancholy slave, and retain the image, not altogether without secret approbation.
As I completed my preparations the light failed me; the last level streak of sunlight disappeared, and a fading twilight only remained. I sighed in unison with the pensive hour, and threw open the window, intending to look out for a moment before going downstairs. I perceived instantly that the window underneath mine was also open, for I heard two voices in conversation, although I could not distinguish what they were saying.
The male voice was peculiar; it was, as I told you, reedy and nasal. I knew it, of course, instantly. The answering voice spoke in those sweet tones which I recognized only too easily. The dialogue was only for a minute; the repulsive male voice laughed, I fancied, with a kind of devilish satire, and retired from the window, so that I almost ceased to hear it.
The other voice remained nearer the window, but not so near as at first.
It was not an altercation; there was evidently nothing the least exciting in the colloquy. What would I not have given that it had been a quarrel--a violent one--and I the redresser of wrongs, and the defender of insulted beauty! Alas! so far as I could pronounce upon the character of the tones I heard, they might be as tranquil a pair as any in existence. In a moment more the lady began to sing an odd little chanson. I need not remind you how much farther the voice is heard singing than speaking. I could distinguish the words. The voice was of that exquisitely sweet kind which is called, I believe, a semi-contralto; it had something pathetic, and something, I fancied, a little mocking in its tones. I venture a clumsy, but adequate translation of the words:
"Death and Love, together mated, Watch and wait in ambuscade; At early morn, or else belated, They meet and mark the man or maid.
Burning sigh, or breath that freezes, Numbs or maddens man or maid; Death or Love the victim seizes, Breathing from their ambuscade."
"Enough, Madame!" said the old voice, with sudden severity. "We do not desire, I believe, to amuse the grooms and hostlers in the yard with our music."
The lady's voice laughed gaily.
"You desire to quarrel, Madame!" And the old man, I presume, shut down the window. Down it went, at all events, with a rattle that might easily have broken the glass.
Of all thin partitions, glass is the most effectual excluder of sound. I heard no more, not even the subdued hum of the colloquy.
What a charming voice this Countess had! How it melted, swelled, and trembled! How it moved, and even agitated me! What a pity that a hoarse old jackdaw should have power to crow down such a Philomel! "Alas! what a life it is!" I moralized, wisely. "That beautiful Countess, with the patience of an angel and the beauty of a Venus and the accomplishments of all the Muses, a slave! She knows perfectly who occupies the apartments over hers; she heard me raise my window. One may conjecture pretty well for whom that music was intended--aye, old gentleman, and for whom you suspected it to be intended."
In a very agreeable flutter I left my room and, descending the stairs, passed the Count's door very much at my leisure. There was just a chance that the beautiful songstress might emerge. I dropped my stick on the lobby, near their door, and you may be sure it took me some little time to pick it up! Fortune, nevertheless, did not favor me. I could not stay on the lobby all night picking up my stick, so I went down to the hall.
I consulted the clock, and found that there remained but a quarter of an hour to the moment of supper.
Everyone was roughing it now, every inn in confusion; people might do at such a juncture what they never did before. Was it just possible that, for once, the Count and Countess would take their chairs at the table-d'hôte?
Full of this exciting hope I sauntered out upon the steps of the Belle Étoile. It was now night, and a pleasant moonlight over everything. I had entered more into my romance since my arrival, and this poetic light heightened the sentiment. What a drama if she turned out to be the Count's daughter, and in love with me! What a delightful--_tragedy_ if she turned out to be the Count's wife! In this luxurious mood I was accosted by a tall and very elegantly made gentleman, who appeared to be about fifty. His air was courtly and graceful, and there was in his whole manner and appearance something so distinguished that it was impossible not to suspect him of being a person of rank.
He had been standing upon the steps, looking out, like me, upon the moonlight effects that transformed, as it were, the objects and buildings in the little street. He accosted me, I say, with the politeness, at once easy and lofty, of a French nobleman of the old school. He asked me if I were not Mr. Beckett? I assented; and he immediately introduced himself as the Marquis d'Harmonville (this information he gave me in a low tone), and asked leave to present me with a letter from Lord R----, who knew my father slightly, and had once done me, also, a trifling kindness.
This English peer, I may mention, stood very high in the political world, and was named as the most probable successor to the distinguished post of English Minister at Paris. I received it with a low bow, and read:
I beg to introduce my very dear friend, the Marquis d'Harmonville, who will explain to you the nature of the services it may be in your power to render him and us.
From its opening pages, The Room in the Dragon Volant establishes a narrator who is both observant and credulous, a combination that Le Fanu exploits to create suspense. The story begins on the road, with the young Englishman Richard Beckett noting the inn-yard of the Belle Étoile in precise, almost documentary detail: the postilions, the carriages, the innkeeper's obsequious manner. This attention to the mundane soon gives way to more unsettling observations—a veiled lady, a mysterious Count, and a whispered warning about the Dragon Volant inn. Le Fanu's prose moves between the conversational and the archaically formal, mirroring the narrator's own shifts between confidence and doubt.
Diction and the Unreliable Observer
The narrator's language reveals his social position and his susceptibility to flattery. He describes himself as a young Englishman of means, and his speech is peppered with phrases like "I was, I confess, a little flattered" and "I could not help thinking." Le Fanu uses this self-consciousness to hint at the narrator's blindness: he is more concerned with how he appears than with the motives of those around him. When the innkeeper speaks of the Dragon Volant's sinister history, the narrator dismisses it as "marvelous—I mean in the supernatural sense"—a revealing qualifier that shows he is willing to believe in ghosts but not in human treachery. This diction choice sets the trap.
The Masked Ball as a Theater of Suspicion
Le Fanu devotes several chapters to a masked ball at the Tuileries, a setting that allows him to layer deception upon deception. The narrator removes his mask early, but others remain hidden, and the dialogue becomes a game of half-truths. The Count de St. Alyre speaks in elaborate courtesies, while the Marquis d'Harmonville offers cryptic warnings. Le Fanu's description of the heat, the crowd, and the "profusion of lights" creates a sensory overload that mirrors the narrator's confusion. The appearance of Tom Whistlewick, a Waterloo hero who drinks too much champagne, adds a note of comic relief that only deepens the unease—his slurred speech and flushed face contrast sharply with the controlled menace of the French aristocrats.
Recurring Details: The Palanquin and the Veil
Two objects recur with increasing significance: a palanquin (a covered litter) and a black veil. The narrator first sees the palanquin in the inn-yard, carried by servants, and later learns it belongs to the Countess de St. Alyre. The veil appears when the narrator glimpses a woman's face through it—a face he finds beautiful but which others warn him is a mask of death. Le Fanu does not explain these items; instead, he lets them accumulate meaning through repetition. The palanquin becomes a symbol of hidden transport, the veil of hidden identity. By the time the narrator is drugged and sealed in a coffin-like room, these details have prepared the reader for a horror that is not supernatural but mechanical and human.
The Frame of Doctor Hesselius and the Drug Lore
The story is framed as a case from the papers of Doctor Martin Hesselius, a character Le Fanu used in other tales. The prologue discusses an essay called Mortis Imago, which catalogs medieval drugs like the Vinum letiferum and the Somnus Angelorum. This scholarly frame lends an air of authenticity to the tale, while also distancing the reader from the immediacy of the horror. Le Fanu's choice to begin with a dry, academic tone before plunging into a first-person narrative creates a jarring shift that underscores the contrast between rational explanation and irrational experience. The drug that renders the narrator helpless is never named in the story proper, but the prologue hints that it belongs to a known class of soporific poisons.
Readers attentive to Le Fanu's craft will notice how he uses the narrator's own voice to signal danger: the moments when the narrator is most self-assured are precisely those when he is most deceived. The story rewards a second reading, in which the Count's flattery, the innkeeper's warnings, and the veiled lady's silence all read as clues rather than atmosphere. The horror here is not in the shadows but in the polite conversation.
That first-person wavering in The Room in the Dragon Volant—how a room can feel safe until it isn’t—always stays with me. It’s the same quiet disquiet I find myself recalling when thinking about the editor’s notes in The Calling of Dan Matthews — Edition Insights, how small, precise observations can shift what we thought we knew. Just a lingering feeling, really.
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Adam Shelton - 3 weeks ago
Le Fanu's 'The Room in the Dragon Volant' is a masterfully crafted gothic mystery that keeps you on edge. The atmospheric setting of a Parisian hotel, the mysterious room, and the cleverly plotted twist make for a compelling read. Le Fanu's prose is elegant and suspenseful, slowly building unease until the shocking reveal. A must-read for fans of classic horror and mystery, offering a rich, rewarding experience. -
Heather Tyler Pugh - 2 weeks ago
An intriguing gothic novella with a strong sense of mystery and a satisfying twist. The atmosphere is well-crafted, but the pacing is slow at times, and the narrator's naivety can be frustrating. Still, the suspense keeps you reading, and the conclusion is impactful. A decent choice for those interested in classic supernatural tales. -
Crystal Bowman - 2 weeks ago
Although the plot is well-known, this novella suffers from padding and excessive description that dilute the suspense. The narrator's gullibility is overdone, making him appear foolish rather than innocent. The twist, while effective, doesn't compensate for the sluggish build-up. Le Fanu's writing is beautiful, but this story could have been told in half the length. Fans of tighter narratives may be disappointed.
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Sofia Perez
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