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Bram Stoker: The Crystal Cup (Online Text)

Abraham Stoker was born in Dublin in 1847 and is  best remembered for his 1897 novel Dracula.

"The Crystal Cup" was first published in the September 1872 issue of London Society.

Classic Horror Stories (public domain)
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The Crystal Cup

by Bram Stoker

I. The Dream-Birth

The blue waters touch the walls of the palace; I can hear their soft, lapping wash against the marble whenever I listen. Far out at sea I can see the waves glancing in the sunlight, ever-smiling, ever-glancing, ever-sunny. Happy waves!—happy in your gladness,  thrice happy that ye are free!

I rise from my work and spring up the wall till I reach the embrasure. I grasp the corner of the stonework and draw myself up till I crouch in the wide window. Sea, sea, out away as far as my vision extends. There I gaze till my eyes grow dim; and in the dimness of my eyes my spirit finds its sight. My soul flies on the wings of memory away beyond the blue, smiling sea-away beyond the glancing waves and the gleaming sails, to the land I call my home. As the minutes roll by, my actual eyesight seems to be restored, and I look round me in my old birth-house. The rude simplicity of the dwelling comes back to me as something new. There I see my old books and manuscripts and pictures, and there, away on their old shelves, high up above the door, I see my first rude efforts in art.

How poor they seem to me now! And yet, were I free, I would not give the smallest of them for all I now possess. Possess? How I dream.

The dream calls me back to waking life. I spring down from my window-seat and work away frantically, for every line I draw on paper, every new form that springs on the plaster, brings me nearer freedom. I will make a vase whose beauty will put to shame the glorious works of Greece in her golden prime! Surely a love like mine and a hope like mine must in time make some form of
beauty spring to life! When He beholds it he will exclaim with rapture, and will order my instant freedom. I can forget my hate, and the deep debt of revenge which I owe him when I think of liberty-even from his hands. Ah! then on the wings of the morning shall I fly beyond the sea to my home-her home-and clasp her to my arms, never more to be separated!

But, oh Spirit of Day! if she should be—No, no, I cannot think of it, or I shall go mad. Oh Time, Time! maker and destroyer of men's fortunes, why hasten so fast for others whilst thou laggest so slowly for me? Even now my home may have become desolate, and she—my bride of an hour—may sleep calmly in the cold earth. Oh this suspense will drive me mad! Work, work! Freedom is before me; Aurora is the reward of my labour!

So I rush to my work; but to my brain and hand, heated alike, no fire or no strength descends. Half mad with despair, I beat myself against the walls of my prison, and then climb into the embrasure, and once more gaze upon the ocean, but find there no hope. And so I stay till night, casting its pall of blackness over nature, puts the possibility of effort away from me for yet another day.

So my days go on, and grow to weeks and months. So will they grow to years, should life so long remain an unwelcome guest within me; for what is man without hope? and is not hope nigh dead within this weary breast?


Last night, in my dreams, there came, like an inspiration from the Day-Spirit, a design for my vase.

All day my yearning for freedom—for Aurora, or news of her—had  increased tenfold, and my heart and brain were on fire. Madly I beat myself, like a caged bird, against my prison-bars. Madly I leaped to my window-seat, and gazed with bursting eyeballs out on the free, open sea. And there I sat till my passion had worn itself out; and then I slept, and dreamed of thee, Aurora—of thee and freedom. In my ears I heard again the old song we used to sing together, when as children we wandered on the beach; when, as lovers, we saw the sun sink in the ocean, and I would see its glory doubled as it shone in thine eyes, and was mellowed against thy cheek; and when, as my bride, you clung to me as my arms went round you on that desert tongue of land whence rushed that band of sea-robbers that tore me away. Oh! how my heart curses those men—not men, but fiends! But one solitary gleam of joy remains from that dread encounter,—that my struggle stayed those hell-hounds, and that, ere I was stricken down, this right hand sent one of them to his home. My spirit rises as I think of that blow that saved thee from a life worse than death. With the thought I feel my cheeks burning, and my forehead swelling with mighty veins. My eyes burn, and I rush wildly round my prison-house, 'Oh! for one of my enemies, that I might dash out his brains against these marble walls, and trample his heart out as he lay before me!' These walls would spare him not. They are pitiless, alas! I know too well. 'Oh, cruel mockery of kindness, to make a palace a prison, and to taunt a captive's aching heart with forms of beauty and sculptured marble!' Wondrous, indeed, are these sculptured walls! Men call them passing fair; but oh, Aurora! with thy beauty ever before my eyes, what form that men call lovely can be fair to me? Like him who gazes sun-wards, and then sees no light on earth, from the glory that dyes his iris, so thy beauty or its memory has turned the fairest things of earth to blackness and deformity.

In my dream last night, when in my ears came softly, like music stealing across the waters from afar, the old song we used to sing together, then to my brain, like a ray of light, came an idea whose grandeur for a moment struck me dumb. Before my eyes grew a vase of such beauty that I knew my hope was born to life, and that the Great Spirit had placed my foot on the ladder that leads from this my palace-dungeon to freedom and to thee. Today I have got a block of crystal—for only in such pellucid substance can I body forth my dream—and have commenced my work.

I found at first that my hand had lost its cunning, and I was beginning to despair, when, like the memory of a dream, there came back in my ears the strains of the old song. I sang it softly to myself, and as I did so I grew calmer; but oh! how differently the song sounded to me when thy voice, Aurora, rose not in unison with my own! But what avails pining? To work! To work! Every touch of my chisel will bring me nearer thee.


My vase is daily growing nearer to completion. I sing as I work, and my constant song is the one I love so well. I can hear the echo of my voice in the vase; and as I end, the wailing song note is prolonged in sweet, sad music in the crystal cup. I listen, ear down, and sometimes I weep as I listen, so sadly comes the echo to my song. Imperfect though it be, my voice makes sweet music, and its echo in the cup guides my hand towards perfection as I work. Would that thy voice rose and fell with mine, Aurora, and then the world would behold a vase of such beauty as never before woke up the slumbering fires of mans love for what is fair; for if I do such work in sadness, imperfect as I am in my solitude and sorrow, what would I do in joy, perfect when with thee? I know that my work is good as an artist, and I feel that it is as a man; and the cup itself, as it daily grows in beauty, gives back a clearer echo. Oh! if I worked in joy how gladly would it give back our voices! Then would we hear an echo and music such as mortals seldom hear; but now the echo, like my song, seems imperfect. I grow daily weaker; but still I work on-work with my whole soul-for am I not working for freedom and for thee?


My work is nearly done. Day by day, hour by hour, the vase grows more finished. Ever clearer comes the echo whilst I sing; ever softer, ever more sad and heart-rending comes the echo of the wail at the end of the song. Day by day I grow weaker and weaker; still I work on with all my soul. At night the thought comes to me, whilst I think of thee, that I will never see thee more-that I breathe out my life into the crystal cup, and that it will last there when I am gone.

So beautiful has it become, so much do I love it, that I could gladly die to be maker of such a work, were it not for thee—for my love for thee, and my hope of thee, and my fear for thee, and my anguish for thy grief when thou knowest I am gone.


My work requires but few more touches. My life is slowly ebbing away, and I feel that with my last touch my life will pass out for ever into the cup. Till that touch is given I must not die—I will not die. My hate has passed away. So great are my wrongs that revenge of mine would be too small a compensation for my woe. I leave revenge to a juster and a mightier than I. Thee, oh Aurora, I will await in the land of flowers, where thou and I will wander, never more to part, never more! Ah, never more! Farewell, Aurora-Aurora-Aurora!

II. The Feast of Beauty

The Feast of Beauty approaches rapidly, yet hardly so fast as my royal master wishes. He seems to have no other thought than to have this feast greater and better than any ever held before. Five summers ago his Feast of Beauty was nobler than all held in his sires reign together; yet scarcely was it over, and the rewards given to the victors, when he conceived the giant project whose success is to be tested when the moon reaches her full. It was boldly chosen and boldly done; chosen and done as boldly as the project of a monarch should be. But still I cannot think that it will end well. This yearning after completeness must be unsatisfied in the end—this desire that makes a monarch fling his kingly justice to the winds, and strive to reach his Mecca over a desert of blighted hopes and lost lives. But hush! I must not dare to think ill of my master or his deeds; and besides, walls have ears. I must leave alone these dangerous topics, and confine my thoughts within proper bounds.

The moon is waxing quickly, and with its fulness comes the Feast of Beauty, whose success as a whole rests almost solely on my watchfulness and care; for if the ruler of the feast should fail in his duty, who could fill the void? Let me see what arts are represented, and what works compete. All the arts will have trophies: poetry in its various forms, and prose-writing; sculpture with carving in various metals, and glass, and wood, and ivory, and engraving gems, and setting jewels; painting on canvas, and glass, and wood, and stone and metal; music, vocal and instrumental; and dancing. If that woman will but sing, we will have a real triumph of music; but she appears sickly too. All our best artists either get ill or die, although we promise them freedom or rewards or both if they succeed.

Surely never yet was a Feast of Beauty so fair or so richly dowered as this which the full moon shall behold and hear; but ah! the crowning glory of the feast will be the crystal cup. Never yet have these eyes beheld such a form of beauty, such a wondrous mingling of substance and light. Surely some magic power must have helped to draw such loveliness from a cold block of crystal. I must be careful that no harm happens to the vase. To-day when I touched it, it gave forth such a ringing sound that my heart jumped with fear lest it should sustain any injury. Henceforth, till I deliver it up to my master, no hand but my own shall touch it lest any harm should happen to it.

Strange story has that cup. Born to life in the cell of a captive torn from his artist home beyond the sea, to enhance the splendour of a feast by his labour—seen at work by spies, and traced and followed till a chance—cruel chance for him—gave him into the hands of the emissaries of my master. He too, poor moth, fluttered about the flame: the name of freedom spurred him on to exertion till he wore away his life. The beauty of that cup was dearly bought for him. Many a man would forget his captivity whilst he worked at such a piece of loveliness; but he appeared to have some sorrow at his heart, some sorrow so great that it quenched his pride.

How he used to rave at first! How he used to rush about his chamber, and then climb into the embrasure of his window, and gaze out away over the sea! Poor captive! perhaps over the sea some one waited for his coming who was dearer to him than many cups, even many cups as beautiful as this, if such could be on earth. . . . Well, well, we must all die soon or late, and who dies first escapes the more sorrow, perhaps, who knows? How, when he had commenced the cup, he used to sing all day long, from the moment the sun shot its first fiery arrow into the retreating hosts of night-clouds, till the shades of evening advancing drove the lingering sunbeams into the west-and always the same song!

How he used to sing, all alone! Yet sometimes I could almost imagine I heard not one voice from his chamber, but two. . . . No more will it echo again from the wall of a dungeon, or from a hillside in free air. No more will his eyes behold the beauty of his crystal cup.

It was well he lived to finish it. Often and often have I trembled to think of his death, as I saw him day by day grow weaker as he worked at the unfinished vase. Must his eyes never more behold the beauty that was born of his soul? Oh, never more! Oh Death, grim King of Terrors, how mighty is thy sceptre! All-powerful is the wave of thy hand that summons us in turn to thy kingdom away beyond the poles!

Would that thou, poor captive, hadst lived to behold thy triumph, for victory will be thine at the Feast of Beauty such as man never before achieved. Then thou mightst have heard the shout that hails the victor in the contest, and the plaudits that greet him as he passes out, a free man, through the palace gates. But now thy cup will come to light amid the smiles of beauty and rank and power, whilst thou liest there in thy lonely chamber, cold as the marble of its walls.

And, after all, the feast will be imperfect, since the victors cannot all be crowned. I must ask my master's direction as to how a blank place of a competitor, should he prove a victor, is to be filled up. So late? I must see him ere the noontide hour of rest be past.


Great Spirit! how I trembled as my master answered my question!

I found him in his chamber, as usual in the noontide. He was lying on his couch disrobed, half-sleeping; and the drowsy zephyr, scented with rich odours from the garden, wafted through the windows at either side by the fans, lulled him to complete repose. The darkened chamber was cool and silent. From the vestibule came the murmuring of many fountains, and the pleasant splash of falling waters. 'Oh, happy,' said I, in my heart, 'oh, happy great King, that has such pleasures to enjoy!' The breeze from the fans swept over the strings of the Aeolian harps, and a sweet, confused, happy melody arose like the murmuring of children's voices singing afar off in the valleys, and floating on the wind.

As I entered the chamber softly, with muffled foot-fall and pent-in breath, I felt a kind of awe stealing over me. To me who was born and have dwelt all my life within the precincts of the court-to me who talk daily with my royal master, and take his minutest directions as to the coming feast—to me who had all my life looked up to my king as to a spirit, and had venerated him as more than mortal—came a feeling of almost horror; for my master looked then, in his quiet chamber, half-sleeping amid the drowsy music of the harps and fountains, more like a common man than a God. As the thought came to me I shuddered in affright, for it seemed to me that I had been guilty of sacrilege. So much had my veneration for my royal master become a part of my nature, that but to think of him as another man seemed like the anarchy of my own soul.

I came beside the couch, and watched him in silence. He seemed to be half-listening to the fitful music; and as the melody swelled and died away his chest rose and fell as he breathed in unison with the sound.

After a moment or two he appeared to become conscious of the presence of some one in the room, although by no motion of his face could I see that he heard any sound, and his eyes were shut. He opened his eyes, and, seeing me, asked, 'Was all right about the Feast of Beauty?' for that is the subject ever nearest to his thoughts. I answered that all was well, but that I had come to ask his royal pleasure as to how a vacant place amongst the competitors was to be filled up. He asked, 'How vacant?' and on my telling him, 'from death,' he asked again, quickly, 'Was the work finished?' When I told him that it was, he lay back again on his couch with a sigh of relief, for he had half arisen in his anxiety as he asked the question. Then he said, after a minute, 'All the competitors must be present at the feast.' 'All?' said I. 'All,' he answered again, 'alive or dead; for the old custom must be preserved, and the victors crowned.' He stayed still for a minute more, and then said, slowly, 'Victors or martyrs.' And I could see that the kingly spirit was coming back to him.

Again he went on. 'This will be my last Feast of Beauty; and all the captives shall be set free. Too much sorrow has sprung already from my ambition. Too much injustice has soiled the name of king.'

He said no more, but lay still and closed his eyes. I could see by the working of his hands and the heaving of his chest that some violent emotion troubled him, and the thought arose, 'He is a man, but he is yet a king; and, though a king as he is, still happiness is not for him. Great Spirit of Justice! thou metest out his pleasures and his woes to man, to king and slave alike! Thou lovest best to whom thou givest peace!'

Gradually my master grew more calm, and at length sunk into a gentle slumber; but even in his sleep he breathed in unison with the swelling murmur of the harps.

'To each is given,' said I gently, 'something in common with the world of actual things. Thy life, oh King, is bound by chains of sympathy to the voice of Truth, which is Music! Tremble, lest in the presence of a master-strain thou shouldst feel thy littleness, and die!' and I softly left the room.

III. The Story of the Moonbeam

Slowly I creep along the bosom of the waters.

Sometimes I look back as I rise upon a billow, and see behind me many of my kin sitting each upon a wave-summit as upon a throne. So I go on for long, a power that I wist not forcing me onward, without will or purpose of mine.

At length, as I rise upon a mimic wave, I see afar a hazy light that springs from a vast palace, through whose countless windows flame lamps and torches. But at the first view, as if my coming had been the signal, the lights disappear in an instant.

Impatiently I await what may happen; and as I rise with each heart-beat of the sea, I look forward to where the torches had gleamed. Can it be a deed of darkness that shuns the light?


The time has come when I can behold the palace without waiting to mount upon the waves. It is built of white marble, and rises steep from the brine. Its sea-front is glorious with columns and statues; and from the portals the marble steps sweep down, broad and wide to the waters, and below them, down as deep as I can see.

No sound is heard, no light is seen. A solemn silence abounds, a perfect calm.

Slowly I climb the palace walls, my brethren following as soldiers up a breach. I slide along the roofs, and as I look behind me walls and roofs are glistening as with silver. At length I meet with something smooth and hard and translucent; but through it I pass and enter a vast hall, where for an instant I hang in mid-air and wonder.

My coming has been the signal for such a burst of harmony as brings back to my memory the music of the spheres as they rush through space; and in the full-swelling anthem of welcome I feel that I am indeed a sun-spirit, a child of light, and that this is homage to my master.

I look upon the face of a great monarch, who sits at the head of a banquet-table. He has turned his head upwards and backwards, and looks as if he had been awaiting my approach. He rises and fronts me with the ringing out of the welcome-song, and all the others in the great hall turn towards me as well. I can see their eyes gleaming. Down along the immense table, laden with plate and glass and flowers, they stand holding each a cup of ruby wine, with which they pledge the monarch when the song is ended, as they drink success to him and to the 'Feast of Beauty.'

I survey the hall. An immense chamber, with marble walls covered with bas-reliefs and frescoes and sculptured figures, and panelled by great columns that rise along the surface and support a dome-ceiling painted wondrously; in its centre the glass lantern by which I entered.

On the walls are hung pictures of various forms and sizes, and down the centre of the table stretches a raised platform on which are placed works of art of various kinds.

At one side of the hall is a dais on which sit persons of both sexes with noble faces and lordly brows, but all wearing the same expression—care tempered by hope. All these hold scrolls in their hands.

At the other side of the hall is a similar dais, on which sit others fairer to earthly view, less spiritual and more marked by surface-passion. They hold music-scores. All these look more joyous than those on the other platform, all save one, a woman, who sits with downcast face and dejected mien, as of one without hope. As my light falls at her feet she looks up, and I feel happy. The sympathy between us has called a faint gleam of hope to cheer that poor pale

Many are the forms of art that rise above the banquet-table, and all are lovely to behold. I look on all with pleasure one by one, till I see the last of them at the end of the table away from the monarch, and then all the others seem as nothing to me. What is this that makes other forms of beauty seem as nought when compared with it, when brought within the radius of its lustre? A crystal cup, wrought with such wondrous skill that light seems to lose its individual glory as it shines upon it and is merged in its beauty. 'Oh Universal Mother, let me enter there. Let my life be merged in its beauty, and no more will I regret my sun-strength hidden deep in the chasms of my moon-mother. Let me live there and perish there, and I will be joyous whilst it lasts, and content to pass into the great vortex of nothingness to be born again when the glory of the cup has fled.'

Can it be that my wish is granted, that I have entered the cup and become a part of its beauty? 'Great Mother, I thank thee.'

Has the cup life? or is it merely its wondrous perfectness that makes it tremble, like a beating heart, in unison with the ebb and flow, the great wave-pulse of nature? To me it feels as if it had life.

I look through the crystal walls and see at the end of the table, isolated from all others, the figure of a man seated. Are those cords that bind his limbs? How suits that crown of laurel those wide, dim eyes, and that pallid hue? It is passing strange.  This Feast of Beauty holds some dread secrets, and sees some wondrous sights.

I hear a voice of strange, rich sweetness, yet wavering—the voice of one almost a king by nature. He is standing up; I see him through my palace-wall. He calls a name and sits down again.

Again I hear a voice from the platform of scrolls, the Throne of Brows; and again I look and behold a man who stands trembling yet flushed, as though the morning light shone bright upon his soul. He reads in cadenced measure a song in praise of my moon-mother, the Feast of Beauty, and the king. As he speaks, he trembles no more, but seems inspired, and his voice rises to a tone of power and grandeur, and rings back from walls and dome. I hear his words distinctly, though saddened in tone, in the echo from my crystal home. He concludes and sits down, half-fainting, amid a whirlwind of applause, every note, every beat of which is echoed as the words had been.

Again the monarch rises and calls 'Aurora,' that she may sing for freedom. The name echoes in the cup with a sweet, sad sound. So sad, so despairing seems the echo, that the hall seems to darken and the scene to grow dim.

'Can a sun-spirit mourn, or a crystal vessel weep?'

She, the dejected one, rises from her seat on the Throne of Sound, and all eyes turn upon her save those of the pale one, laurel-crowned. Thrice she essays to begin, and thrice nought comes from her lips but a dry, husky sigh, till an old man who has been moving round the hall settling all things, cries out, in fear lest she should fail, 'Freedom!'

The word is re-echoed from the cup. She hears the sound, turns towards it and begins.

Oh, the melody of that voice! And yet it is not perfect alone; for after the first note comes an echo from the cup that swells in unison with the voice, and the two sounds together, seem as if one strain came ringing sweet from the lips of the All-Father himself. So sweet it is, that all throughout the hall sit spell-bound, and scarcely dare to breathe.

In the pause after the first verses of the song, I hear the voice of the old man speaking to a comrade, but his words are unheard by any other, 'Look at the king. His spirit seems lost in a trance of melody. Ah! I fear me some evil: the nearer the music approaches to perfection the more rapt he becomes. I dread lest a perfect note shall prove his death-call.' His voice dies away as the singer commences the last verse.

Sad and plaintive is the song; full of feeling and tender love, but love overshadowed by grief and despair. As it goes on the voice of the singer grows sweeter and more thrilling, more real; and the cup, my crystal time-home, vibrates more and more as it gives back the echo. The monarch looks like one entranced, and no movement is within the hall. . . . The song dies away in a wild wail that seems to tear the heart of the singer in twain; and the cup vibrates still more as it gives back the echo. As the note, long-swelling, reaches its highest, the cup, the Crystal Cup, my wondrous home, the gift of the All-Father, shivers into millions of atoms, and passes away.

Ere I am lost in the great vortex I see the singer throw up her arms and fall,
More Stories by Bram Stoker
freed at last, and the King sitting, glory-faced, but pallid with the hue of Death.
Bram Stoker (1847 -- 1912)