Angela Carter's "The Loves of Lady Purple" 

P28 Angela Carter, from ‘The Loves of Lady Purple'

. [The aged Professor] revealed his passions through a medium other than himself and this was his heroine, the puppet, Lady Purple.

She was the Queen of Night. There were glass rubies in her head for eyes and her ferocious teeth, carved out of mother o’ pearl, were always on show for she had a smile. Her face was as white as chalk because it was covered with the skin of supplest white leather which also clothed her torso, jointed limbs and complication of extremities(the uttermost parts of the body; the hands and feet). Her beautiful hands seemed more like weapons because her nails were so long, five inches of pointed tin enamelled scarlet, and she wore a wig of black hair arranged in a chignon(A large coil or hump of hair, usually folded round a pad) more heavily elaborate than any human neck could have endured. This monumental chevelure(hairdo, hairstyle) was stuck through with many brilliant pins tipped with pieces of broken mirror so that, every time she moved, she cast a multitude of scintillating reflections which danced about the theatre like mice of light. Her clothes were all of deep, dark, slumbrous colours-profound pinks, crimson and the vibrating purple with which she was synonymous, a purple the colour of blood in a love suicide.

She must have been the masterpiece of a long-dead, anonymous artisan and yet she was nothing but a curious structure until the Professor touched her strings, for it was he who filled her with necromantic(making a conjuring tricks) vigour. He transmitted to her an abundance of the life he himself seemed to possess so tenuously and, when she moved, she did not seem so much a cunningly simulated woman as a monstrous goddess, at once preposterous and magnificent, who transcended the notion she was dependent on his hands and appeared wholly real and yet entirely other. Her actions were not so much an imitation as a distillation and intensification of those of a born woman and so she could become the quintessence of eroticism, for no woman born would have dared to be so blatantly seductive.

The Professor allowed no one else to touch her. He himself looked after her costumes and jewellery. When the show was over he placed his marionette in a specially constructed box and carried her back to the lodging house where he and his children shared a room, for she was too precious to be left in the flimsy theatre and, besides, he could not sleep unless she lay beside him.

...after summarizing the story of the puppet show "The Notorious Amours of Lady Purple, the Shameless Oriental Venus"

...

The old man finished his mending. He rose and, with a click or two of his old bones, he went to put the forlorn garment neatly on its green-room hanger beside the glowing, winy(of the colour of wine) purple gown splashed with rosy peonies(작약), sashed(장식띠를 단) with carmine(양홍색), that she wore for her appalling dance. He was about to lay her, naked, in her coffee-shaped case and carry her back to their chilly bedroom when he paused. He was seized with the childish desire to see her again in all her finery once more that night. He took her dress off its hanger and carried it to where she drifted, at nobody’s volition but that of the wind. As he put her clothes on her, he murmured to her as if she were a little girl for the vulnerable flaccidity(want of firmness and vigour) of her arms and legs made a six-foot baby of her.

‘There, there, my pretty; this arm here, that’s right! Oops a daisy, easy(very easy) does it... ’ Then he tenderly took off her penitential wig and clucked his tongue to see how defencelessly bald she was beneath it. His arms cracked under the weight of her immense chignon and he had to stretch up on tiptoe to set it in place because, since she was as large as life, she was rather taller than he. But then the ritual of apparelling was over and she was complete again.

Now she was dressed and decorated, it seemed her dry wood had all at once put out an entire springtime of blossoms for the old man alone to enjoy. She could have acted as the model for the most beautiful of women, the image of that woman whom only a man’s memory and imagination can devise, for the lamplight fell too mildly to sustain her air of arrogance and so gently it made her long nails look as harmless as ten fallen petals. The Professor had a curious habit; he always used to kiss his doll good night.

...

The sleeping wood had wakened. Her pearl teeth crashed against his with the sound of cymbals and her warm, fragrant breath blew around him like an Italian gale. Across her suddenly moving face flashed a whole kaleidoscope of expression, as though she were running instantaneously through the entire repertory of human feeling, practising, in an endless moment of time, all the scales of emotion as if they were music. Crushing vines, her arms, curled about the Professor’s delicate apparatus of bone and skin with the insistent pressure of an actuality by far more authentically living than that of his own, time-desiccated flesh. Her kiss emanated from the dark country where desire is objectified and lives. She gained entry into the world by a mysterious loophole in its metaphysics and, during her kiss, she sucked his breath from his lungs so that her own bosom heaved with it.

So, unaided, she began her next performance with an apparent improvisation which was, in reality, only a variation upon a theme. She sank her teeth into his throat and drained him. He did not have the time to make a sound. When he was empty, he slipped straight out of her embrace down to her feet with a dry rustle, as of a cast armful of dead leaves, and there he sprawled on the floorboards, as empty, useless and bereft of meaning as his own tumbled shawl.

She tugged impatiently at the strings which moored her and out they came in bunches from her head, her arms and her legs. She stripped them off her fingertips and stretched out her long, white hands, flexing and unflexing them again and again. For the first time for years, or, perhaps, for ever, she closed her blood-stained teeth thankfully, for her cheeks still ached from the smile her maker had carved into the stuff of her former face. She stamped her elegant feet to make the new blood flow more freely there.