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Part 2
Themes
Key
LitCharts assigns a color and icon to each theme in Interview with the Vampire, which you can use to track the themes throughout the work.
The Nature of Evil
Violence, Desire, and Eroticism
Loneliness vs. Companionship
Reinventing the Vampire
Summary
Analysis
Louis feels alive again in Paris, euphoric after the hopeless nights of wandering in Eastern Europe. He and Claudia stay at the Hôtel Saint-Gabriel on the Boulevard des Capucines, one of the largest hotels in Europe. Their suite offers a view of the bustling boulevard, filled with carriages and lavishly dressed people heading to various entertainments. As usual, Louis thinks Claudia is taking too much after Lestat and living too lavishly. She transforms their suite with elaborate wallpaper, velvet furniture, and daily deliveries of roses.
Paris is reminiscent of the vivacity found in New Orleans, even though they are markedly different cities. The life of the city renews Louis, who once again finds himself living an extravagant life. Despite ridding himself of Lestat, Louis is constantly reminded of his influence of Claudia, which it seems will never go away. Like Lestat did, Claudia fills their suite with expensive furnishings in an attempt to fill the void left by being a lonely vampire. It’s unclear whether this attempt will be successful.
Themes
Despite his reservations, Louis finds himself at home in this opulent city. Although he still wants to find other vampires, Louis enjoys the opportunity to explore Paris with Claudia. However, something is wrong with Claudia. She has grown increasingly quiet, and he can tell she is dissatisfied. Although she occasionally assures Louis that she is fine, anger seems to simmer beneath the surface.
Although Louis and Claudia take comfort in their bond, neither is fully satisfied with their arrangement. Even though they may love each other, their love is not enough. This is also another indicator that Paris, its opulence, and Claudia’s fine clothes and furnishings aren’t going to meaningfully improve her existence.
Themes
One night, Louis wakes to find Claudia gone, so he goes searching for her. He does not find her until she returns to their hotel carrying a small china doll. She explains that she convinced a woman who only makes baby dolls to create a lady doll for her. Then, she crushes the doll, causing it to break in a heap of glass. She is frustrated that she will always look like a child, even if her mind is ancient.
Earlier in the novel, Louis describes Claudia as “doll-like” because of her porcelain look and diminutive stature. Claudia crushes the china doll to demonstrate her frustration regarding her body, which never changes even as her mind evolves. Further, destroying the doll also suggests that it’s not an appropriate stand-in for fulfilling relationships with other living beings, relationships that Louis and Claudia struggle to form due to being vampires.
Themes
After speaking with Claudia, Louis walks alone in the darkness along the Seine. He wants to hide from her and the overwhelming fear that he is inadequate to make her or himself happy. He would give anything to please her, yet he feels wholly insufficient. He even feels jealous toward the dollmaker who briefly pleased Claudia, something he has not done in a long time. Even though Louis loves Paris, it ultimately feels useless to him if it cannot fix his relationship with Claudia.
Already feeling lonely, Louis does not want to lose Claudia. He knows what happened the last time she was dissatisfied and wants to fix their relationship before it is too late. However, Louis cannot fix Claudia’s problem, which he is partially responsible for causing. He knows as much, which is why he sulks alone rather than spending time with her.
Themes
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As he walks alone, Louis becomes aware that someone is following him. At first, he thinks it might be Claudia. However, the steps are too heavy and, oddly, they are perfectly timed with his own. Quickly, he realizes that whoever is following him is not human. As he rounds a corner into the light, he sees another vampire. The vampire mimics every move Louis makes and when Louis attempts to talk to him, the vampire speaks at the same time, saying the same words. The mimicry continues until the vampire suddenly breaks out into sinister laughter.
Here, Louis finally finds another vampire that matches—and perhaps exceeds—his abilities. Although the vampire acts as a literal mirror for Louis, his ability to predict Louis’s future actions suggests mastery over powers Louis cannot access and perhaps does not possess at all. It is not the warm welcome Louis was hoping to find upon first discovering another of his kind.
Themes
Louis tries to walk away, but the vampire appears in front of him with unnatural speed. Then, Louis attempts a different strategy and tells that vampire that he came to Paris to look for others of his kind. Uninterested, the other vampire attacks Louis. Louis fights back, but realizes he is no match for the vampire’s immense power. In the struggle, another figure intervenes, forcing the vampire to release Louis. As the conflict ends, Louis sees a new vampire crouched above him. This new vampire, Armand, assures Louis that he is safe. Armand gives Louis a card, inviting him to a place called Théâtre des Vampires the next night. He also tells Louis that he is welcome to bring Claudia. Then, Armand disappears into the darkness, as Louis hurries back to the hotel to tell Claudia about the encounter.
This entire confrontation leaves the nature of the Parisian vampires ambiguous. On the one hand, the first vampire makes it seem as though Lestat’s warning to Louis about vampiric selfishness was valid. However, Armand’s sudden appearance and polite invitation suggests that perhaps a vampire society exists after all. Still, Louis must be wary about whether or not one vampire is the “master” while others are his “slaves.” No matter what, Louis knows he needs to learn more, as this is the opportunity he and Claudia have been waiting for.
Themes
The following night, Louis stands outside the Théâtre des Vampires in the rain, showing his invitation card to the doorman. The crowd around him, all human, pushes into the packed lobby. Inside, Louis feels a feverish excitement, feeling certain that some of his questions will finally be answered. In the bustling lobby, they are directed to a box seat, one of the best in the house. Claudia wonders whether the vampires are using enslaved humans to run the theatre.
Previously, Lestat expressed his distaste for the arts, though he would occasionally attend a stage show. At first, the Théâtre des Vampires seems like a departure from Lestat’s way of thinking, as it seems the vampires are not only enjoying art but producing it. Presumably, the humans in attendance do not know the truth about who runs the theatre, creating a sense of foreboding as they enter what could be a dangerous and deadly situation.
Themes
Before long, the show begins. The music starts with a tambourine and a flute, creating a haunting, medieval melody. The stage transforms into a forest scene with a riverbank, painted on a fine silk scrim. The Grim Reaper, complete with a black cloak and a scythe, walks on stage. Louis feels uneasy. He recognizes the hand of the Grim Reaper as that of a vampire. The vampire holds the audience captive with his graceful movements and theatrical gestures. Suddenly, a young woman, not a vampire, appears on stage. The woman, terrified, pleads for her life, while the Grim Reaper taunts her. Other vampires join the Grim Reaper on stage and begin to undress the young woman, who is genuinely terrified. Although most of the audience is too spellbound to realize that the show is real, Louis and Claudia know the truth.
The staging of the play recalls the mystery plays of medieval Europe. Traditionally, mystery plays told Biblical stories, though clearly the vampires are up to something else. Rather than a parable about moral virtues, the vampires are staging a real act of violence, which, as usual, is interlaced with sex. Their show is an inversion of traditional Christian morality, as the vampires force the young woman to embrace sex and death, much to the titillation of the unsuspecting human audience.
Themes
As the vampires feed on the woman, Louis feels a mix of anger and hunger. Although the show is a powerful experience, its sadism bothers him. After the performance, Armand invites Louis and Claudia to follow him. They descend into a subterranean ballroom decorated with frescoes and murals depicting macabre scenes. Although the room disturbs Louis, he feels an intense attraction to Armand, whose subdued demeanor differentiates him from the other vampires Louis has met.
The show serves as a warning to Louis that the vampires in charge of the theatre might be even more sadistic than Lestat. However, the ballroom provides more evidence that—although they might be sadistic—they also appreciate art, unlike Lestat. Regardless of any red flags, Louis finds himself drawn to Armand, who seemingly fits the “master” archetype, even though Louis does not realize it yet.
Themes
Armand brings Louis a human boy and offers him as a meal. The boy, unafraid, exposes his neck and allows Louis to feed on him. Louis sees that the boy’s neck is already bruised from a previous bite. The boy’s body presses intimately against Louis, inciting a passionate response as Louis sinks his teeth into the boy’s neck. As Louis is feeding, other vampires enter the room, including the trickster vampire Louis met the night before. The trickster vampire sees Louis and immediately approaches him, but Armand steps in between them before anything can happen.
Here, Armand demonstrates that the Parisian vampires have developed a different relationship to humans than Louis thought possible. In addition to entertaining them in the theatre, Armand has at least one willing victim to provide to Louis. However, just as new possibilities develop, so do new problems, as Louis’s issues with the trickster vampire remain unresolved.
Themes
Armand then invites Louis and Claudia to follow him deeper underground. There, Armand asks about Louis and Claudia’s origins. Louis, reluctant to discuss his past, does not answer Armand’s questions. Instead, he asks Armand questions of his own. In particular, Louis is concerned with the question of evil. He wants to know if vampires are the spawn of Satan. In response, Armand says that if Satan does exist, then Satan in the creation of God. In this sense, vampires would also be God’s children. However, as far as Armand knows, there is no proof of either God or Satan’s existence. Armand also informs Louis that he is currently the oldest vampire in existence as far as he is aware, a fact that grants his words additional weight.
Louis hopes to get answers to his fundamental questions about vampirism out of Armand. However, perhaps unsurprisingly, Armand does not know any more than Louis himself, though he does provide some comfort in sharing his own philosophy. Rather than reject Louis’s religious framework, Armand takes it to a logical conclusion, providing Louis with a new way to think about his condition. Still, Armand does not settle the moral questions that are always on Louis’s mind.
Themes
Louis retreats from Armand’s room, seeking solace in the dark passages of the theater, overwhelmed by confusion and a sense of futility. He reflects on his relationship with Lestat, realizing he may have hated him for the wrong reasons. In doing so, he says Lestat’s name out loud, which the trickster vampire, who introduces himself as Santiago, overhears.
Louis’s loneliness—even now that he has found other vampires—is evident as he constantly finds himself returning to the subject of Lestat. Even though Lestat was deeply flawed, he possessed a greater humanity than someone like Armand, whose ancient mind makes him seem somewhat less relatable.
Themes
Santiago approaches Louis. Santiago’s demeanor is different from before, more subdued and seemingly sincere. He asks Louis to repeat what he said before about Lestat. The name is familiar to Santiago, and he wants to know more. However, Louis is not interested in sharing the intimate details of his past with anyone else. Their conversation is interrupted when Armand arrives, carrying Claudia. Armand warns Louis that he should never tell the other vampires about his past.
Santiago’s questions to Louis imply that he knows Lestat. However, Louis does not trust Santiago, nor does he want to create a greater divide between himself and the other vampires. Armand’s warning demonstrates the quality of Louis’s intuition and implies that Santiago’s questions were not as innocent as he pretended that they were.
Themes
Louis follows Armand back into the ballroom, where the other vampires are gathered. He feels a strong connection with Armand, thinking that Armand is the type of vampire he has always been looking for. However, the dullness of the other vampires bothers him. They all dress in a uniform manner and have boring and uninspired ideas about what it means to be a vampire. Claudia engages in conversation with two other female vampires, Estelle and Celeste. Louis listens as they speak but finds them similarly uninspiring.
Armand stands out among the other vampires, who do nothing to distinguish themselves. Although Louis has been seeking a community since the beginning of the novel, these vampires are almost too close-knit, so much so that they have no individuality. Once again, it seems that—with the notable exception of Armand—Louis has failed to find people among whom he belongs.
Themes
Claudia’s questions the other vampires about the rules of vampire society. Santiago explains that the ultimate crime among vampires is to kill one of their own kind. Santiago’s tone suggests that he thinks Claudia and Louis have done exactly that, although he does not make an explicit accusation. Louis is horrified, thinking they might be in danger. However, Claudia laughs off Santiago’s insinuation. Shortly after, Louis and Claudia take their leave. Before they go, Armand tells Louis that he is welcome to come back any time.
Here, Santiago’s words spells trouble, as he implies that he’s discovered Louis and Claudia’s hidden past. As usual, Claudia does not take the threat of danger seriously, which has not worked out well in the past. Still, Louis can take some solace in the fact that Armand seems to be on his side. However, for all Louis knows, Armand—seemingly the master of this vampire cadre—could have selfish intentions.
Themes
Back at the hotel, Claudia talks to Louis about what transpired between herself and Armand when Louis was not around. She claims Armand put her into some sort of trance, making her feel powerless. She believes Armand wants Louis for himself and would eliminate her to have him. Louis assures Claudia that this is not the case. He trusts Armand, unlike the other vampires, as Armand seems to want to help them. However, Claudia remains unconvinced.
Here, there is a suggestion that Armand is far less laid back than he presents himself. Louis trusts him, but without good reason. Really, Louis only likes Armand based on his intuition, which Armand may be manipulating. Still, after being lonely for so long, Louis feels like he has to put his trust in Armand.
Themes
The next night, Louis leaves Claudia and returns to the theater, convinced that Armand can be trusted. He waits until the theater is empty and is let in by the human doormen. Armand welcomes him and engages him in casual conversation while his human boy—the same one Louis fed from—eats his dinner. When the boy is finished, Armand locks him away to sleep. Then, Armand speaks to Louis about the suspicions the other vampires have about him. In particular, Santiago is certain that Louis and Claudia killed the vampire that turned them. Although Louis does not say so explicitly, Armand can tell just by looking at Louis’s face that the accusation is true.
Here, Armand demonstrates that his power of perception is far greater than Louis’s, though it is not clear whether his gift is supernatural. Either way, he now knows about Louis and Claudia’s secret past, deepening the intimate connection between himself and Louis. Still, it’s not clear whether Armand’s intentions are positive, suggesting Louis and Claudia may still be in danger.
Themes
Louis asks Armand if he can help him, as he can tell that the other vampires look to Armand as a leader. Armand admits that he plays a sort of leadership role, but he also claims that he is not powerful enough to be of use if Louis has killed another vampire. While the other vampires may respect Armand, he is not above them in a hierarchical sense. Armand also tells Louis that he thinks it is unfortunate that Louis and Santiago dislike each other, as this does not bode well for the future. When their conversation is finished, Armand gives Louis a key to a secret exit, instructing him to avoid the others and to remain cautious. As Louis leaves, Armand softly tells him to come back when he can.
Again, this section invokes Lestat’s “master” and “slave” descriptors from earlier in the novel. In this community, it seems that Armand is the master, even if he does not want to say as much. Although he might not be able to control the other vampires, he holds significant sway over them and is perhaps downplaying his influence while speaking to Louis. Although it may all be for show, Armand demonstrates his trust in Louis by letting him use the secret exit.
Themes
In the dark Paris streets, Louis reflects on his love for Claudia and his longing for Armand. He lets the desire for the kill rise within him, seeking solace in the hunt. While on the hunt, Louis finds a painter who takes an interest in him. The painter takes Louis to his studio and begins painting him. However, before the painting is finished, Louis’s hunger overwhelms him, and he feeds on the man. Afterwards, Louis returns to the Hôtel Saint-Gabriel, carrying the painting the man started of him. He looks at the image of his own face on the canvas, which reflects an innocence that contrasts with his monstrous reality.
Once again, the novel conflates violence with love and longing, as Louis begins hunting after considering his relationships to Claudia and Armand. Not content with allowing the artist to finish his creation, Louis attacks him and then takes with him the unfinished painting. The unfinished painting symbolizes the incompleteness that Louis feels within him, as engaging in violence doesn’t make him feel any less lonely.
Themes
In the hotel, Louis finds Claudia with a woman named Madeleine whom Claudia has already bitten. Claudia informs Louis that Madeleine is the dollmaker who she previously sought out. Additionally, Claudia demands that Louis turn Madeleine into a vampire, arguing that she needs Madeleine to survive, as Armand is taking Louis from her. Louis is torn. He can tell that Claudia intensely loves and hates him. Additionally, he can feel the insecurity and suffering that comes from her childlike, immortal form. Still, even if it is for Claudia, Louis refuses to turn another human being into a vampire, as he is unable to bear the thought of damning another soul. The night ends with Louis standing alone by a hotel window. He watches the rain fall as he contemplates the irreparable rift between himself and Claudia.
Although Louis does not like being alone, Claudia genuinely cannot survive on her own. Because she looks like a child, she always needs someone else to secure certain necessities for her. As such, as soon as she senses that Louis might leave her, she finds a replacement. However, previously, Louis swore that he would never turn anyone else into a vampire. He knows the problems with being a vampire and does not want to condemn anyone else to his fate. Still, Claudia is the most important person in the world to him, so suddenly he must call his previous promises into question.
Themes
Just before dawn, Louis finds Madeleine asleep on the couch, clutching a doll. When she awakens, they have a tense conversation about Claudia, whom Madeleine sees as a child who cannot die. Louis learns that Madeleine wants to become a vampire because she lost her daughter and is looking for something to make her whole again. Suddenly, Louis feels a strong urge to turn Madeleine into a vampire. He tries to resist it, but it overwhelms him. Ultimately, he decides to go through with it after all.
Madeleine and Claudia both fulfill a need for each other. Claudia needs an adult in her life and Madeleine needs a child who cannot die. Earlier in the novel, Louis likened Claudia to a doll and, here, he finds himself speaking to a dollmaker. There is an open question as to whether Madeleine will treat Claudia as a doll or a daughter—or perhaps a mix of both.
Themes
Louis gives Madeleine his blood, instructing her to hold on to life and focus on a distant light. The transformation is intense and painful, with Madeleine experiencing the full horror of dying and being reborn. Madeleine’s mortal death is a terrifying experience, but Louis guides her through it, preparing her for the immortality that awaits. As Madeleine settles into her new existence, Louis turns his attention to Claudia. He reassures her of their bond, acknowledging the pain and hatred she feels toward him. He also tells her that now that he has transformed Madeleine, he feels that he has lost the rest of his humanity. He always told himself that the one thing he would never do is make another vampire, and now he has done exactly that.
Even while betraying the moral guidelines that he previously set down for himself, Louis does not turn into a moral degenerate like Lestat. He does not take pleasure in what he is doing, nor does he treat Madeleine cruelly as Lestat did to him. While it pains Louis to transform Madeleine into a vampire, he does so knowing that he is betraying himself for the sake of someone he loves, which he believes is still a noble cause.
Themes
For her part, Madeleine wants to move on from her past. She tells Louis and Claudia that she wants to burn down her doll shop, which she initially created to make replicas of the daughter she lost. Additionally, she burns her daughter’s clothes in an attempt to show Claudia that she is devoted only to her. As Claudia’s pupil, Madeleine shares many of Claudia’s qualities, including a love for the hunt. In her spare time, Madeleine begins crafting all sorts of items for Claudia. Claudia’s dressing room becomes a miniature world filled with small, luxurious items suited to her size. Louis thinks of it as a sort of tiny realm, where Claudia appears as a fairy queen.
Here, Madeline becomes both Claudia’s mother and her daughter. Although Madeleine treats Claudia like a fairy princess, she does not know anything about vampire life. Claudia has to teach Madeleine everything, just as Lestat did for her. Meanwhile, Claudia’s dressing room reads as the work of an overbearing parent who is doing everything they can to make their child happy, even though Claudia is not really a child. It suggests that both Madeleine and Claudia are stuck in a fantasy that does not seem likely to last.
Themes
Louis also reflects on his feelings for Armand, realizing that his love for him is complicated by the changes he has undergone. He acknowledges that he has found no truths in Europe to lessen his loneliness or despair. He grapples with his self-hatred and the realization that his passion for Armand might be as misguided as his former love for Lestat. He wonders whether he was right to transform Madeleine into a vampire, which has left him feeling emotionally drained and despondent.
This is Louis’s lowest point so far in the novel. Not only is he unsure about Armand, but he has just significantly altered the most meaningful relationship in his life. To make matters worse, he has gone against his moral code, inflicting the curse of vampirism on Madeleine, who may in turn inflict it on others.
Themes
