Yuresh Nahavr

The Eldritch House of the Yuresh Nahavr were famed necromancers who used powerful hybrid of illusion and necromancy magic to 'disbelieve' death, which they called 'The Phantom of Truth'. Their fetid, rotting forms were so unpleasant that they would often use ornate masks and clothing to hide their appearances while moving amongst the common folk, whose life-force powered their vigor in undeath. At the height of their empire, it is said that the royal families had servants of death who would travel the world, taking those on the verge of death to the shadow realm, where their life force would be interned in dimensional phylactories. Some people attribute the ease which the realm of Shade can be accessed from Athwei with the meddling of the Yuresh Nahavr, and scholars definitely blame the abundance of shadow rifts in the Marynmara Bleak to their ancient tamperings.

It is said that two great brothers once vied for the daughter of the yellow king, Uoht and Thale.

created great slave processions to their soul-binding machines built in the realm of shade. It is said that the survivors of their ancient regime live deep beneath the Skora Razul sea in the lost province of Demhe. Ruinous cities in the region include Uoht, Thale, and Naotalba.

He mentioned the establishment of the Dynasty in Carcosa, the lakes which connected Hastur, Aldebaran and the mystery of the Hyades. He spoke of Cassilda and Camilla, and sounded the cloudy depths of Demhe, and the Lake of Hali. "The scolloped tatters of the King in Yellow must hide Yhtill forever", he muttered, but I do not believe Vance heard him. Then by degrees he led Vance along the ramifications of the Imperial family, to Uoht and Thale, from Naotalba and Phantom of Truth, to Aldones, and then tossing aside his manuscript and notes, he began the wonderful story of the Last King.

Night fell and the hours dragged on, but still we murmured to each other of the King and the Pallid Mask, and midnight sounded from the misty spires in the fog-wrapped city. We spoke of Hastur and of Cassilda, while outside the fog rolled against the blank window-panes as the cloud waves roll and break on the shores of Hali.

The reinvention of the vampire myth in the modern era is not without political overtones.[143] The aristocratic Count Dracula, alone in his castle apart from a few demented retainers, appearing only at night to feed on his peasantry, is symbolic of the parasitic Ancien regime. In his entry for "Vampires" in the Dictionnaire philosophique (1764), Voltaire notices how the end of the 18th century coincided with the decline of the folkloric belief in the existence of vampires but that now "there were stock-jobbers, brokers, and men of business, who sucked the blood of the people in broad daylight; but they were not dead, though corrupted. These true suckers lived not in cemeteries, but in very agreeable palaces".[144]
Marx defined capital as "dead labour which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks".[145] Werner Herzog, in his Nosferatu the Vampyre, gives this political interpretation an extra ironic twist when protagonist Jonathon Harker, a middle-class solicitor, becomes the next vampire; in this way the capitalist bourgeois becomes the next parasitic class.

Along the shore the cloud waves break,
The twin suns sink behind the lake,
The shadows lengthen
In Carcosa.
Strange is the night where black stars rise,
And strange moons circle through the skies,
But stranger still is
Lost Carcosa.
Songs that the Hyades shall sing,
Where flap the tatters of the King,
Must die unheard in
Dim Carcosa.
Song of my soul, my voice is dead,
Die thou, unsung, as tears unshed
Shall dry and die in
Lost Carcosa.[7]
The short story "The Mask" is introduced by an excerpt from Act 1, Scene 2d:
Camilla: You, sir, should unmask.
Stranger: Indeed?
Cassilda: Indeed it's time. We have all laid aside disguise but you.
Stranger: I wear no mask.
Camilla: (Terrified, aside to Cassilda.) No mask? No mask![8]

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