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Dracula the vampire history
Dracula the vampire history
the history of the vampire
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Vampires in Myth and History Vampire myths go back thousands of years and occur in almost every culture around the world. Their variety is almost endless; from red eyed monsters with green or pink hair in China to the Greek Lamia which has the upper body of a woman and the lower body of a winged serpent; from vampire foxes in Japan to a head with trailing entrails known as the Penanggalang in Malaysia. However, the vampires we are familiar with today, although mutated by fiction and film, are largely based on Eastern European myths. The vampire myths of Europe originated in the Far East, and were transported from places like China, Tibet and India with the trade caravans along the silk route to the Mediterranean. Here they spread out along the Black Sea coast to Greece, the Balkans and of course the Carpathian Mountains, including Hungary and Transylvania. Our modern concept of the vampire still retains threads, such as blood drinking, return from death, preying on humans at night, etc in common with the Eastern European myths. However many things we are familiar with; the wearing of evening clothes, capes with tall collars, turning into bats, etc are much more recent inventions. On the other hand, many features of the old myths such as the placing of millet or poppy seeds at the gravesite in order to keep the vampire occupied all night counting seeds rather than preying on relatives, have all but disappeared from modern fiction and film. Even among the Eastern European countries there is a large variety of vampires. Slavic Vampires The Slavic people including most east Europeans from Russia to Bulgaria, Serbia... ... middle of paper ... ...ging up bodies all over the place. Many scholars said vampires didn't exist - they attributed reports to premature burial, or rabies which causes thirst. However, Dom Augustine Calmet, a well respected French theologian and scholar, put together a carefully thought out treatise in 1746 which said vampires did exist. This had considerable influence on other scholars at the time. Eventually, Austrian Empress Marie Theresa sent her personal physician to investigate. He said vampires didn't exist and the Empress passed laws prohibiting the opening of graves and desecration of bodies. This was the end of the vampire epidemics. But by then everyone knew about vampires and it was only a matter of time before authors would preserve and mould the vampire into something new and much more accessible to the general public.
There is a classic "good versus evil" plot to this novel. The evil of course being Count Dracula and the Good being represented by the Harkers, Dr. Seward and Lucy, Arthur, Quincy and the Professor. It is the continuing battle between Dracula and the forces of good. Good in this case is the Christian God. The battle is foretold by the landlady where she says, "It is the eve of St Georges Day. Do you no know that tonight, when the clock strikes midnight, all the evil things in the world will have full sway?" and she hands Harker a crucifix (p 12).
In the novel Dracula, by Bram Stoker, there is much evidence of foreshadowing and parallels to other myths. Dracula was not the first story featuring a vampire myth, nor was it the last. Some would even argue that it was not the best. However, it was the most original, using foreshadowing and mood to create horrific imagery, mythical parallels to draw upon a source of superstition, and original narrative elements that make this story unique.
best example of this is when the woman and vampire are on the floor of
All fiction requires a reader to buy in to the world and characters that have been created, but sometimes stories can either be too unbelievable for the reader to relate to or they lean too much towards reality to be classified as fantasy. Karen Russell constructed a novel of exemplary short stories under the title Vampires In The Lemon Grove. Her stories are said to “vibrate with originality and life” with “imaginative reach and moral weight of works of much greater length.” The praise received for this collection of short stories is much deserved, and being her second novel after her award winning Swamplandia!, the author from Miami, Florida, has a bright future in short stories.
Carmilla is an example of a woman who loves her food far too much. Carmilla is consumed entirely by her food, even sleeping in a coffin of blood: “The limbs were perfectly flexible, the flesh elastic; and the leaden coffin floated with blood, in which to a depth of seven inches, the body lay immersed” (Le Fanu 102). There exists a unique relationship between the vampire and their victims. Food becomes defined in terms of victimhood, distinctly separated from humanity’s general consumption of meat. The need for human victims makes hunting synonymous with courtship, as intense emotional connections are established between the vampiress and her food. As seen in the intense relationship developed between Laura and Carmilla, the vampire is “prone to be fascinated with an engrossing vehemence, resembling the passion of love, by particular persons” (105). For Carmilla, cruelty and love are inseparable (33). The taking of the victims’ blood for sustenance is a highly sexualized exchange of fluids from one body to another. The act of consumption is transformed into an illicit carnal exchange between the hunter and the hunted.
...At any point of time, two remain in Moscow to hold nightly mass for the Sword of Caine in the Sanctuary. Saulot are chosen from many walks of life and from any faith as long as they are devout in their faith.
form of a bird usually a falcon and fly around in the world of the living
While studying the diabolical figures in the devil, the idea of presenting Dracula came to mind. Dracula represents the devil in many similar ways. Dracula remains as a character in many diabolical movies and films. For instance, Van Helsing provides a good interpret of how Dracula remains noticed in the past and in present day. Although Dracula’s character obtains different views in every movie and film, he plays an important role in Stephen Sommers Van Helsing movie. In the movie, he acts as many different things. Demonstrating both the kind and evil inside, Dracula portrays his character as a mystery. Different views of Dracula throughout the movie include harsh, strong, powerful, evil, the devil, and unstoppable. The studies of Dracula
Throughout the Bram Stoker’s novel Dracula, one is presented with the presence of many Christian ideals and symbols throughout the text. Count Dracula’s appearance and actions seem to display the perversion of various Christian ideals and symbols and Dr. Van Helsing uses various Christian symbols to defeat Count Dracula. Given that Van Helsing and his posse are able to use the Christian imagery to drive Dracula back to Castle Dracula and eventually defeat him, Stoker might be suggesting that the power of the Christianity and the Christian God will always prevail in a match against evil and the devil.
Over the course of cinematic history, many filmmakers have attempted to recreate the chilling, unprecedented world of Bram Stoker’s Dracula. Arguably very few have succeeded, for the majority of directors tend to avoid the pervasive sexuality inherent in the novel. It is a difficult task to achieve, considering the blatant imagery surrounding sex and vampirism, such as the reproduction following a vampiric encounter and the phallocentric nature of the violence committed both by and against these creatures: penetration is involved in their hunting, and one must impale them with a stake in order to destroy them. Readers are thereby forced to admit that Dracula is, in fact, a highly eroticized piece of literature, though whether or not Stoker himself was aware of this suggestiveness, we cannot be sure. The most successful effort at capturing that sexual energy on film has been Francis Ford Coppola's 1992 movie, Bram Stoker's Dracula. In fact, it has often been proposed that Coppola’s version is too carnally focused in comparison to the original work, which leads a viewer to wonder about the purpose in this overt sexualization. It can be concluded that adding copious amounts of eroticism to the film is directly related to Coppola’s strive to depict Count Dracula as more human rather than monster, and sexuality in his film serves as a balance so that the lines between good and evil are blurred. Evidence for this deduction is found in three scenes in particular: Jonathan’s seduction by Dracula’s vampiric wives, Lucy’s demonic transformation, and Mina and Van Helsing’s relationship during the climax of the story.
In the novel Dracula, by Bram Stoker, religion plays an extreme role in various ways. The appearance of faith, particularly Christianity, creates a barrier between the East and Western cultures of Europe, and noticeably affects the lives of those who are followers of God. The battle between religion and science is visible in several events, and a copious amount of people struggle to find a balance. Because religion and superstition greatly direct the mood of the story, the power of God is present as well. The separation of good and evil affects the main characters, but ultimately, to defeat the powerful anti-Christ like figure, faith is needed, which leads to the relevance of religion through the novel.
Dracula, as it was written by Bram Stoker, presents to us possibly the most infamous monster in all of literature. Count Dracula, as a fictional character, has come to symbolize the periphery between the majority and being an outsider to that group. Dracula’s appeal throughout the years and genres no doubt stems from his sense of romanticism and monster. Reader’s no doubt are attracted to his “bad-boy” sensibilities, which provide an attraction into the novel. Looking first at his appearance, personality, and behaviour at the beginning of the novel, we can easily see Dracula’s blurred outsider status, as he occupies the boundaries of human and monster. Related to this is Dracula’s geographic sense of outsider. For all intents and purposes, Dracula is an immigrant to England, thus placing him further into the realm of outsider. To look at Bram Stoker’s Dracula as solely a monster in the most violent sense of his actions would to be look at a sole aspect of his character, and so we must look at how he interacts with the outside world to genuinely understand him.
Batman beats the Joker. Spiderman banishes the Green Goblin. For centuries story tellers have used the basic idea of good beats bad to guide their tales. Stories of blood sucking, human possessions and other tales have been passed down generations and vary between cultures. Among the creators of the famous protagonists is, Bram Stoker, the creator of Dracula. This fictional character was soon to be famous, and modified for years to come into movie characters or even into cereal commercials. But the original will never be forgotten; a story of a group of friends all with the same mission, to destroy Dracula. The Count has scared many people, from critics to mere children, but if one reads betweens the line, Stoker’s true message can be revealed. His personal experiences and the time period in which he lived, influenced him to write Dracula in which he communicated the universal truth that good always prevails over evil.
When the word “vampire” comes to mind, people think of the traditional pale-faced, malicious bloodsuckers, sporting a cape and killing people when they’re sleeping. Wrong! Nowadays, the image of a vampire is a handsome, polite, and loving person who protects humans. The new cultural phenomenon Twilight is building a new degrading image for vampires that slaps the face of all previous authors, directors, writers, etc. who contributed to giving the monster its unique image in the past.
In Twilight, Edward Cullen presents the question; “ But what if I’m not the hero? What if I’m the bad guy?” The role of vampires is very controversial. Back in the day they were evil, soulless monsters and people genuinely feared them. However, in the present day it seems that we have grown to love them and even hope to one day be them. There are a plethora of vampire stories and many of them have become immense hits. With so many vampire stories, it is not uncommon that readers are able to identify a vast amount of similarities. Although similar in aspects, there are still many differences between the classic and modern day vampires. Two highly popular stories, in which we can easily identify similarities and differences, are Bram Stoker’s Dracula and Stephenie Meyer’s Twilight.