The Trickster in Anne Rice's Interview with the Vampire Vampires today, particularly after Anne Rice's five-book series, the Vampire Chronicles, are portrayed in quite a different light than the vampires of ages past. Gone is the garlic and cross that offers protection, gone is the vampire's fear of all light and gone is their distant, in-human nature. (Whyte 2) In fact, most vampires are portrayed as both beast and man, struggling to retain their humanity as the lust for blood seems to never diminish and eternal as they are, their inner conflict spans to infinity. This duplicity is highly reminiscent of the paradoxical nature of the trickster archetype. Tricksters embrace creation just as easily as they revel in destruction, both beautiful and ugly, sometimes heroes and sometimes villains--still, tricksters are never merely good or evil.
"Shadow of a Vampire," however begins to show vampires in another light. It seems almost satirical of the traditional vampire movies. Although it isn't blatant comedy, anyone who is familiar with the classic tales of vampires can see the humor behind the vampire character of Schreck. As "Shadow of a Vampire," offers a new way to see vampires, Dracula, preserves the deathly, scary perception of vampires that was created so many years ago. This drastic change in context is essential for the myth of vampires to remain popular.
Vampires have metamorphosed into a metaphor for our human desires, needs and passions. No longer are they the metaphor for our dark side, but rather they’re an accepted part of us. Bibliography: Rice, Anne. Interview with the Vampire. Randomhouse: 1976.
Differences Between Dracula and Twilight The similarities between the two novels are namely Gothic imagery and theme, but the Gothic mood predominates in Dracula over Twilight and it is this difference that makes Twilight not belong in the vampire canon. Horror is the element that Dracula possesses that Edward does not, and it is crucial in the interplay between transgression and limit. So what makes Dracula monstrous and Edward not? Broadly, Dracula is distancing himself from human form while Edward progresses toward human form. Dracula is “un-dead”, once human before his vampire state and clearly separate from human form, establishing his frightening allure.
Next, since when have vampires protected humans? Vampires are supposed to be creatures that prey ruthlessly upon humans, not cold-blooded creatures that assure the safety of humans. Along with that, what type of vampire refuses to drink human blood? Isn’t that what the most basic and well-known trait of a vampire? Apparently, Twilight has changed the most fundamental and defining trait of the monster called the vampire, the thirst for human blood.
Contemporary society overindulging in its use of the vampire has established it as extraneous, creating a reduced effect of revulsion and fear towards the vampire and thus a devalued consequence in the response of society. Silence of the lambs can be seen as an updated narrative of reverse consumerism as Hannibal’s “compulsion to feed on humans” is a reflection of the monstrously exaggerated civilization of the 20th century. Therefore these examples show how the qualities of the vampire manifest fear and how this shapes the manner in which society responds to it. Through a feminist reading of Bram stoker’s novel Dracula, there is examination into the alluring power of the vampire that accompanies their overt sexuality. This is a facet of the vampire, which creates a "greatly desired and equally strongly feared fantasy" (Glennis Byron, 1996) within the society of the Victorian era.
Vampires in Literature Vampire literature has changed drastically over the centuries. The old vampire is a blood- thirsty, emotionless monster; this is seen, for example, in the novel Dracula by Bram Stoker. The new vampire, the sympathetic vampire, is more open-ended. The new vampire does not represent evil or the devil, but what is suppressed in modern society. The supporters of the old vampire want Dracula to be a monster.
The vampire seen in ‘Dracula’ is much closer to the original European folklore vampire of a blood drinking, coffin dwelling creature , the description of “demoniac furry” shows the origins of vampires and the creatures of darkness aspect. This description contrasts the description of Lestat in ‘Interview with the Vampire’, “radiant”, radiant is more associated with goodness and God rather than Hell and demons as “demonic” implies. The new vampire of Interview with the Vampire is seen in other modern texts, such as in Twilight, although many of the traits are exaggerated, they don’t drink human blood and live together as a family . In Dracula, Jonathan stays at someone’s house and in the morning, they say “Denn die Todten reiten Schnell. (For the dead travel fast.
It can now be argued that in most books villains and monsters don’t get the chance to express themselves, however as I pointed out above Lucy becomes silent the moment she turns into a vampire. The question rising from this would be if Lucy could also be considered a monster. However this would be off topic and... ... middle of paper ... ...monster by him and by others. In the paragraph above I wrote that Dracula warns the reader about being narrow minded. For me at least it appears like that.
However popular, the vampire-as-monster theme has not always been the primary way of employing this motif. The vampire of the English Romantics served more as symbol or as a metaphor rather than an actual character that haunted the night, plunging his fangs into the neck of unsuspecting victims to drain them of their life's blood (South 251). Indeed, the use of vampirism symbolically could actually be considered a "stock literary motif" in the nineteenth century (Grudin 52). The themes of sex and violence that are the essence of the vampire serve to expose the sexual and psychological uneasiness that reside deep inside human beings through interaction with these creatures (South 251). This creature is used as an element in nineteenth-century literature as a combination of all of the classic elements that distinguish the vampire from other creatures and to examine human experience.