Truman_Capote__the_Masked_Vigilante

The essence of truth and falsehood embodies Truman Capote’s narrative “Music for Chameleons.” In his own work, Capote takes on a dual identity, acting as a vigilante in his search for the truth. Upon his visit to Madame’s house, Capote simultaneously hides the truth about his own sexual orientation and persistently searches for the truth about his lover’s brutal murder. The author’s intentions are hypocritical in nature, demanding the truth while concealing truths about his personal life. Capote’s vigilant behavior in pursuing the truth and his parallel secrecy are conveyed through the dialogue and the various symbols presented in “Music for Chameleons.” The conversations that take place between Madame and Capote are very interrogative and rash in nature. While Madame attempts to comfort Capote with drinks and small talk, he repeatedly retaliates with either negative or indifferent feedback. As a vigilante, Capote remains true to two concepts, the truth about his lover, and the secrecy of his sexual identity. While Madame calmly states “murder is a rare occurrence…we are…serious, but not violent” (Capote 6), Capote rebuttals by claiming, “Serious. Yes. The people in restaurants, on the streets, even on the beaches have such severe expressions. They seem so preoccupied. Like Russians” (6). Whenever Capote chooses to bring up his lover’s death, Madame attempts to lean the conversation a different direction. Shortly after talking about the author’s late lover, Madame says “But that was long ago…I understand you are staying at the new hotel…How do you find it'” (8). Capote’s persistency in discussing his lover’s passing clearly reflects his ambitions for the truth. While Madame continually attempts to sway Capote into relaxation and ease, the author retaliates harshly, even asserts that after ordering a lobster, “it was tasteless as chalk, and so tough to chew that I lost a filling…splendid to look at, but without flavor” (9). Capote continues in his hostile, interrogative tone when he mocks and insults the supposed gracious hotel behind Madame’s terrace. He bluntly questions its humanity and civility when he states, “The foreign ladies gathered around the pool wearing nothing above and very little below. Do they permit that in your country' Virtually naked women parading themselves'” (9). While his investigative side reveals itself, just as all vigilantes do, he conceals his true identity. Wishing to keep his sexual orientation a secret, Capote goes out of his way to prevent Madame from discovering the truth. Amongst their dialogue, Madame begins to discuss the attractiveness of the populous. She simply asks, “Do you find the population attractive'” (6). The author utterly exaggerates his feelings when he responds, “I’ve seen some amazingly beautiful women. Supple, suave, such beautifully haughty postures; bone structure as fine as cats…they have a certain alluring aggressiveness” (6). Capote intentionally embellishes his feelings about women and glorifies them, hoping to steer Madame clear of his true identity. After Madame asks whether or not the men are just as appealing, he continues his embellishment by simply insisting “No” (6). Capote believes that if he dodges the subject of men, the subject he truly admires, altogether, his identity will remain hidden. Not only are Capote’s endeavors to keep his identity secret clear in the dialogue, but symbolism also helps convey the author’s vigilant qualities. The presence of Madame’s black mirror further conveys the notion that she continues to try to mentally open up Capote while he resists. According to Madame, the black mirror acts to “refresh [one’s] vision. Renew [one’s] reaction to color, the tonal variations” (7). The black mirror represents an additional obstacle which Capote must dodge to preserve his personal truths. As the author peers through this mirror, he feels “like Alice…on the edge of a voyage through a looking-glass, one [he] [is] hesitant to take” (8). Comparing himself to Alice, Capote remains hesitant and restrains himself from revealing his true identity and true sexual orientation. Once more, in unwillingly gazing through the black mirror, Capote only experiences vigilant thoughts of secrecy and illusion. He believes it is “strange where our passions carry us, floggingly pursue us, forcing us upon unwanted dreams, unwelcome destinies” (11). The mirror’s, along with Madame’s trials in unveiling Capote’s truthful identity, clash with the author’s desires to remain ambiguous and to expose the truth. The title of the narrative “Music for Chameleons” uproots another symbol that amplifies Truman Capote’s keen, vigilant attitude. Chameleons, creatures of falsehood, masters of disguise, cleverly alter their appearance to blend in with their surroundings. In their existence, they take on a persona necessary to survive and thrive. From Capote’s perspective, concealing his sexual orientation signifies his necessity to survive, and he thrives on discovering the truth about his late lover. When Madame plays the piano, “the chameleons accumulated…a dozen more…some scarlet, lavender. They skittered across the terrace…a sensitive, absorbed audience for the music…my hostess stood and stamped her foot, and the chameleons scattered like sparks from an exploding star” (4). The chameleons adjust to the surroundings they reside in, similar to how Capote acts as a vigilante, altering his identity to survive in his current setting. In Truman Capote’s “Music for Chameleons”, Capote personifies a masked vigilante, masking the truth about his own sexual identity, while simultaneously attempting to reveal the truth about a terrible crime. The dialogue back and forth between Madame and Capote reflects a bitter and uncomfortable atmosphere, comparable to any situation involving interrogation or questioning. With hypocritical intentions, Capote wishes to keep a secretive, internal truth while demanding to hear an external, terrible truth. The set of symbols present in the narrative also help reflect Capote’s illusive and demanding nature. Capote’s simultaneous desire to cover the truth about his personal identity as well as uncover the truth about his lover mirrors a persona equivalent to a masked vigilante. Truman Capote, Music for Chameleons. New York: Random House, 1975.