The Masque of the Red Death
Gabriel Byrne Lyrics

The "Red Death" had long devastated the country.
A deadly disease called the Red Death had been spreading and causing devastation throughout the country for a long time.

No pestilence had ever been so fatal, or so hideous.
This disease was the deadliest and most terrifying one ever witnessed.

Blood was its Avatar and its seal--the redness and the horror of blood.
Blood was the symbol and representation of the disease, with its horrifying red color.

There were sharp pains, and sudden dizziness, and then profuse bleeding at the pores, with dissolution.
The disease caused sharp pains, sudden dizziness, and excessive bleeding, leading to death.

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.
The visible red stains on the body, particularly on the face, acted as a warning sign that isolated the victim from any help or compassion from others.

And the whole seizure, progress and termination of the disease, were the incidents of half an hour.
The entire process of contracting, progressing, and dying from the disease happened within a mere thirty minutes.

But the Prince Prospero was happy and dauntless and sagacious.
Despite the devastation caused by the disease, Prince Prospero remained joyful, courageous, and wise.

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.
As the population of his lands was cut in half, Prince Prospero invited a thousand healthy and joyful friends from his court to join him in seclusion at one of his fortified abbeys.

This was an extensive and magnificent structure, the creation of the prince's own eccentric yet august taste.
The abbey chosen for seclusion was a large and grand building that perfectly reflected Prince Prospero's unique and royal preferences.

A strong and lofty wall girdled it in. This wall had gates of iron.
The abbey was surrounded by a tall and sturdy wall, complete with iron gates for protection.

The courtiers, having entered, brought furnaces and massy hammers and welded the bolts.
Upon entering the abbey, the courtiers brought furnaces and heavy hammers to secure the bolts and ensure that no one could enter or leave.

They resolved to leave means neither of ingress nor egress to the sudden impulses of despair or of frenzy from within.
They made sure that there were no ways for people to enter or exit the abbey, preventing anyone trapped inside from succumbing to feelings of despair or madness.

The abbey was amply provisioned. With such precautions the courtiers might bid defiance to contagion.
The abbey was well-stocked with supplies, and these precautions ensured that the courtiers would not be affected by the contagious disease outside.

The external world could take care of itself. In the meantime it was folly to grieve, or to think.
The outside world was left to its own fate, and it was considered foolish to worry or contemplate about it for the time being.

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.
Prince Prospero had made sure that there were plenty of sources of entertainment and enjoyment within the abbey, including comedians, storytellers, dancers, musicians, beautiful people, and wine.

All these and security were within. Without was the "Red Death".
All these forms of entertainment and safety were available inside the abbey, while outside the disease, known as the Red Death, continued to spread.

It was towards 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.
After being in seclusion for five or six months, as the disease continued to wreak havoc outside, Prince Prospero decided to host a masked ball for his thousand friends, which was incredibly grand and remarkable.

It was a voluptuous scene, that masquerade.
The masquerade ball was opulent and indulgent in its atmosphere and setting.

But first let me tell of the rooms in which it was held.
Before describing the details of the ball, let me provide information about the specific rooms where it took place.

These were seven--an imperial suite.
There were a total of seven rooms, forming an impressive and grand 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.
Typically, in many palaces, such suites have a long and straight view with doors that can be fully opened to reveal the entire space without obstruction.

Here the case was very different, as might have been expected from the duke's love of the bizarre.
However, in this situation, the arrangement was quite different, which was in line with the duke's preference for the unconventional and strange.

The apartments were so irregularly disposed that the vision embraced but little more than one at a time.
The rooms were arranged in such an irregular manner that one could only see and experience a single room at a time.

There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect.
At regular intervals of every twenty or thirty yards, there was a sharp corner that led to a new and unique sight.

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.
On both the right and left sides of each room, there were tall and slim Gothic windows that offered a view of the closed corridor that followed the twists and turns 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.
These windows were made of stained glass, and the color of the glass matched the prevailing color scheme of the chamber that it overlooked.

That at the eastern extremity was hung, for example in blue--and vividly blue were its windows.
For instance, the window at the furthest eastern end of the suite was adorned in blue, and its windows emitted a vibrant, intense blue light.

The second chamber was purple in its ornaments and tapestries, and here the panes were purple.
The ornaments and tapestries of the second chamber were purple, and the glass panes of the windows in this room matched the shade of purple.

The third was green throughout, and so were the casements.
The third chamber was entirely decorated in green, and the window frames were also green.

The fourth was furnished and lighted with orange--the fifth with white--the sixth with violet.
The fourth chamber was adorned and illuminated in orange, while the fifth chamber was decorated in white, and the sixth chamber had a violet color scheme.

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.
The seventh room was veiled in black velvet tapestries, which covered the ceiling and walls, draping heavily onto a carpet of the same black fabric.

But in this chamber only, the colour of the windows failed to correspond with the decorations. The panes here were scarlet--a deep blood colour.
However, in this particular room, the window color did not match the rest of the decorations. The glass panes in this chamber were scarlet, resembling dark, blood-like 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.
Interestingly, none of the seven rooms had any lamps or candelabras, despite the presence of numerous golden ornaments scattered around or hanging from the ceiling. There was no source of light, whether from a lamp or candle, within the suite of rooms.

But in the corridors that followed the suite, there stood, opposite to each window, a heavy tripod, bearing a brazier of fire, that projected its rays through the tinted glass and so glaringly illumined the room.
Instead, in the corridors that connected the rooms, there were sturdy tripods placed opposite each window. These tripods held braziers filled with fire, which cast their light through the colored glass, creating a vivid illumination within the rooms.

And thus were produced a multitude of gaudy and fantastic appearances.
As a result, a wide variety of colorful and impressive visual effects were created within the rooms.

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.
However, in the westernmost room, which was draped in black and featured scarlet-tinted windows, the effect of the firelight shining on the dark hangings was extremely eerie. It created such a disturbing appearance on the faces of those who ventured into the room that very few people were brave enough to enter it.

It was in this apartment, also, that there stood against the western wall, a gigantic clock of ebony.
In this particular room, there was a massive ebony clock positioned against the western wall.

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 harken 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 revery or meditation.
The pendulum of the clock swung back and forth, producing a dull, heavy, and monotonous clang. When the minute hand completed its circuit and it was time for the hour to be struck, the clock emitted a clear, loud, and deep sound, which was remarkably musical. However, this sound had a unique note and emphasis that caused the musicians in the orchestra to pause momentarily in their performance to listen. As a result, the dancers had no choice but to stop their movements, leading to a brief disruption among the entire company. While the clock chimed, it was noticed that even the liveliest individuals grew pale, while the older and more composed guests passed their hands over their brows in a state of confusion or deep thought.

But, in spite of these things, it was a gay and magnificent revel.
Despite the unusual occurrences and unsettling atmosphere, the masked ball remained a lively and grand celebration.

The tastes of the duke were peculiar.
The prince's preferences and tastes were peculiar and distinct.

He had a fine eye for colours and effects.
Prince Prospero had a keen sense of observing colors and how they created certain effects.

He disregarded the decora of mere fashion.
He paid little attention to the traditional decor and fashions that were commonly followed.

His plans were bold and fiery, and his conceptions glowed with barbaric lustre.
His plans and ideas were daring and passionate, radiating with intense and exotic brilliance.

There are some who would have thought him mad.
Some people might have considered him insane due to his unconventional and extravagant nature.

His followers felt that he was not.
However, his loyal followers believed otherwise and did not see him as mad.

It was necessary to hear and see and touch him to be sure that he was not.
In order to truly understand that he was not mad, one had to experience him firsthand, listen to him, observe him, and interact with him.

He had directed, in great part, the movable 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.
Prince Prospero had personally overseen and influenced the decorations and arrangements of the seven rooms for this grand event. It was his unique taste and vision that shaped the appearance and atmosphere of the masqueraders.

Be sure they were grotesque.
The masqueraders' costumes were intentionally strange, odd, and distorted in appearance.

There were much glare and glitter and piquancy and phantasm--much of what has been since seen in "Hernani".
The masks and attire were characterized by intense brightness, sparkling details, captivating allure, and illusionary elements. This resembled the qualities often associated with the play "Hernani".

There were arabesque figures with unsuited limbs and appointments.
The masqueraders wore costumes featuring figures with mismatched limbs and accessories, which added to the overall eccentricity and peculiarity of their appearance.

There were delirious fancies such as the madman fashions.
The costumes included extravagant and whimsical designs, similar to what someone with a disordered mind might create.

There were 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.
The masquerade featured elements of great beauty, sensuality, and peculiarity. It also had a touch of the horrifying and unsettling, as well as certain aspects that might have provoked feelings of disgust.

To and fro in the seven chambers there stalked, in fact, a multitude of dreams.
In reality, within the seven rooms, there were numerous individuals who personified various dreams, fantasies, and illusions.

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.
These dreamlike individuals moved about the rooms, their appearances influenced by their surroundings. Their movements and presence gave the impression that the lively music played by the orchestra was merely an echo of their footsteps.

And, anon, there strikes the ebony clock which stands in the hall of the velvet.
And suddenly, the ebony clock positioned in the hall of the velvet apartment strikes the hour.

And then, for a moment, all is still, and all is silent save the voice of the clock.
At that moment, everything becomes quiet and silent, except for the sound of the clock.

The dreams are stiff-frozen as they stand.
The dreamlike figures freeze completely in their positions.

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.
However, as the echoes of the clock chime fade away after a brief moment, a soft, subdued laughter lingers and floats in the air, following the departing echoes.

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.
The music starts to play once more, and the dreamlike figures resume their lively and energetic movements, writhing and twisting in a more exuberant manner than before. They are further influenced by the colored rays coming from the windows, illuminated by the fire in 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-coloured 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 indulged in the more remote gaieties of the other apartments.
However, no masqueraders dare to enter the westernmost chamber out of fear. The night is coming to an end, and a redder light shines through the blood-colored windows, intensifying the darkness of the black velvet curtains. When someone steps on the black carpet of the room, a muffled bell tolls from the nearby ebony clock with a solemnity and emphasis much more powerful and impactful than the distant chimes heard in the other livelier rooms.

But these other apartments were densely crowded, and in them beat feverishly the heart of life.
On the contrary, the remaining rooms were crowded with people, and within them, the essence of vibrant life pulsated feverishly.

And the revel went whirlingly on, until at length there commenced the sounding of midnight upon the clock.
The festivities and revelry continued in a swirling and frenzied fashion until the clock struck midnight.

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.
As mentioned earlier, the music suddenly stopped, and the waltzing movements of the dancers came to a halt. There was an uncomfortable and tense pause, just like 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.
However, there were twelve distinct strokes to be played by the clock's bell, and therefore, it is possible that the longer duration of the chimes allowed more contemplative thoughts to enter the minds of the more introspective individuals present at the revel.

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.
Hence, it is also possible that, before the last reverberations of the final chime had fully dissipated, numerous people in the crowd had noticed the presence of a masked figure that had previously gone unnoticed by anyone.

And the rumour 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.
As word of this unexpected presence began to circulate quietly among the attendees, a growing buzz or murmur emerged from the entire group, reflecting disapproval, surprise, and eventually transitioning into feelings of terror, horror, and 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.
Considering the surreal and fantastical nature of the gathering that has been described, it is understandable that an unusual presence would elicit such a strong reaction.

In truth the masquerade licence 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.
Indeed, the masquerade allowed for almost limitless creativity and eccentricity, yet the masked figure in question had far exceeded any level of excess. This figure had surpassed even the prince's own sense of acceptable behavior.

There are chords in the hearts of the most reckless which cannot be touched without emotion.
Even the most carefree individuals have certain sensitive spots in their hearts that can evoke deep emotions when triggered.

Even with the utterly lost, to whom life and death are equally jests, there are matters of which no jest can be made.
Even among those who have lost all seriousness in life, considering life and death as mere jokes, there are certain topics or subjects that are not suitable for jests.

The whole company, indeed, seemed now deeply to feel that in the costume and bearing of the stranger neither wit nor propriety existed.
In fact, the entire company began to strongly perceive that the stranger's costume and demeanor lacked both cleverness and appropriateness.

The figure was tall and gaunt, and shrouded from head to foot in the habiliments of the grave.
The figure was tall and thin, completely covered from head to toe in the clothing and accessories typically associated with burial and funerals.

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.
The mask used to conceal the face was created in such a meticulous manner that it closely resembled the appearance of a lifeless corpse. Even upon close inspection, it would have been challenging to distinguish the deception.

And yet all this might have been endured, if not approved, by the mad revellers around.
However, despite the disturbing appearance, the revelers, who were already somewhat unhinged, might have accepted or even appreciated this presence.

But the mummer had gone so far as to assume the type of the Red Death.
Yet, the individual in disguise had taken the bold step of embodying the very essence 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.
His clothing was splattered with blood-like stains, and even his forehead and all the facial features were speckled with the same scarlet horror.

When the eyes of the 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.
As Prince Prospero's gaze landed on this ghostly figure (which moved with deliberate and solemn steps among the dancers, as if committed to maintaining its character), he was visibly affected. In the initial moment, he experienced a powerful shudder, indicative of either fear or disgust. However, in the following moment, his rage caused his brow to turn red.

"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!"
In a hoarse voice, he demanded of the courtiers standing nearby, "How dare someone insult us with this blasphemous mockery? Seize that person and remove their mask, so that we can discover who deserves to be hanged from the battlements at sunrise!"

It was in the eastern or blue chamber in which stood the Prince Prospero as he uttered these words.
The Prince Prospero was standing in the easternmost room, known as the blue chamber, when he spoke 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.
His words echoed loudly and distinctly throughout all seven rooms, as Prince Prospero had a commanding presence and the music had stopped playing as he gestured.

It was in the blue room where stood the prince, with a group of pale courtiers by his side.
Prince Prospero stood in the blue room, accompanied by a group of courtiers who appeared pale in comparison to his own vibrant presence.

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.
Initially, as Prince Prospero spoke, the group of courtiers slightly moved towards the intruder, who was also nearby at that moment. However, the intruder, moving deliberately and majestically, took further steps towards the prince.

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.
Yet, due to an indescribable sense of awe that the audacity of the masked figure had evoked in the entire gathering, nobody reached out to seize him. As a result, unhindered, he passed within a yard of Prince Prospero without any obstacles. Meanwhile, the immense assembly, seemingly acting together on instinct, retreated from the center of the rooms toward the walls. The masked figure continued on his way without interruption, maintaining the same solemn and measured stride that had distinguished him from the beginning, crossing from the blue chamber to the purple, and from the purple to the green, and from the green to the orange, and once more from the orange to the white, until finally reaching the violet room, all before anyone made any definite attempt to stop 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
At that moment, Prince Prospero, consumed by anger and the embarrassment of his own brief display of cowardice, quickly moved through the remaining six rooms, with no one

Followed him on account of a deadly terror that had seized upon all.
Following him due to the overwhelming terror that had gripped every individual present.

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.
Prince Prospero held a raised and poised dagger as he swiftly and fervently closed in on the retreating figure, coming within three or four feet of it. However, as the figure reached the end of the velvet room, it unexpectedly turned around and faced Prince Prospero, stopping his pursuit.

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.
A sudden, loud cry was heard, and the gleaming dagger fell onto the black carpet, which was immediately followed by the lifeless body of Prince Prospero as he collapsed in death.

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.
Driven by a desperate and fearless courage, a crowd of revelers rushed into the black room, seizing the masked figure whose tall and still form stood in the shadow of the ebony clock. To their unspeakable horror, they discovered that the figure's burial clothes and corpse-like mask, which they handled violently and rudely, enclosed nothing more than empty fabric and an empty mask, devoid of any physical presence.

And now was acknowledged the presence of the Red Death.
At this moment, the existence of the Red Death was recognized and acknowledged by all.

He had come like a thief in the night.
The Red Death had arrived in a stealthy and unexpected manner.

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.
One by one, the revelers fell to the ground in the blood-spattered halls of the celebration, dying in positions that revealed their desperation and helplessness in their final moments.

And the life of the ebony clock went out with that of the last of the gay.
The life of the ebony clock ceased simultaneously with the death of the final reveler.

And the flames of the tripods expired.
The flames of the tripods burned out and ceased to exist.

And Darkness and Decay and the Red Death held illimitable dominion over all.
Darkness, decay, and the Red Death now reigned supreme and unstoppable over everything and everyone.