Literary Vampire Popularity In All Times English Literature Essay

Vampires remain popular because their many manifestations can be easy redrawn depending upon the altering times. This is seen through Bram Stoker ‘s popular late nineteenth century novel Dracula and HBO ‘s True blood telecasting series each pulling upon the different values and attitudes of their audience. Dracula chief subjects are the effects of modernness, the menace of female sexual look and the effects of abandoning traditional beliefs or the promise of Christian redemption as these were primary factors or concerns act uponing the people of the Victorian epoch. Whereas the Godhead of True Blood, Alan Ball has used the lamias as a metaphor for the manner homosexual and people of different races people are treated in our society and has besides touched on the effects of abandoning traditional beliefs

In chapter 17, Van Helsing advises Seward “ to free the Earth of this awful monster we must hold all the cognition and all the aid which we can acquire, ” he means all the cognition they can obtain together. Van Helsing tries non merely the modern western Methods but besides to include ancient and foreign methods of idea that typically western society ignores. “ It is the mistake of our scientific discipline, ” he says, “ that it wants to explicate all ; and if it explain non, so it says there is nil to explicate. ” Van Helsing points to the awful effects of following merely the modern-day ideals. Ultimately he is seeking to pass on that without and understanding of history or different positions of history, society is left vulnerable when history necessarily repeats itself.

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In the beginning of the novel when Jonathon expresses how uncomfortable he feels in his milieus at Castle Dracula, “ unless my senses deceive me, the old centuries had, and have, powers of their ain which mere ‘modernity ‘ can non kill. ” Harking is saying one of the cardinal concerns of the Victorian epoch.

Dracula famously renowned as the novel that indulged the Victorian male imaginativeness, particularly in respect to the subject of female gender. During the Victorian epoch in England a female ‘s sexual behavior was controlled by society ‘s highly conservative values. The Victorian adult female had two options: she was either a virgin keeping the image of pureness and artlessness or a married woman or female parent. If she was neither of these she was seen as prostitute and was non accepted in society. When the count arrives in England and starts to coerce his mystical powers of Lucy, the audience understand that the conflict between good and evil bents upon female gender. Lucy and Mina are less human than the virtuousnesss that they possess, that over tine have been classified as female. Both of the characters of Lucy and Mina are chaste, pure, guiltless and devoted to their hubbies. But the Count ‘s dominant menace is to transform these adult females of pureness into adult females who are known for their hot stuff: their antonyms. The Count is successful in transforming Lucy, and every bit shortly as she turns into a raving lamia, Van Helsing, Dr. Steward, Sir Arthur Holmwood and Jonathon Harker have no pick but to destruct her so that she can return to her pure and socially acceptable province. Once Lucy has been transformed the work forces maintain a close oculus on Mina as they fear they will lose another theoretical account of Victorian muliebrity. Later in the narrative the Count mocks the work forces, stating, “ Your misss that you all love are mine already ; and through them you and others shall yet be mine. ” The count is voicing the male phantasy that has existed since Adam and Eve were turned out of Eden: that adult females ‘s unmanageable desires leave work forces positioned for a great autumn from grace.

By showing the promise of Christian redemption Stoker is hiting two birds with one rock by covering the subject of the effects of abandoning traditional beliefs. Van Helsing refers to folk fables and traditions when seeking to decode what the most suited method is in destructing Count Dracula, proposing that the most efficient arms in battling the supernatural immorality are symbols of spiritual good. For illustration when the clip comes for the party to contend against the Count they make usage of the rood which is a symbol of Christian religion. The full text is filled with the strength and power of these Christian symbols that sometimes it appears, as a propagandistic Christian promise of redemption. The demonic character in Stoker ‘s novel is clearly Count Dracula, as he is meant to be every bit old as faith is, this is illustrated through his visual aspect, “ I saw… Count Dracula… with ruddy visible radiation of victory in his eyes, and with a smiling that Judas in snake pit might be proud of. ” But the demonic character is besides evoked through his ingestion of blood. The count ‘s thirst for blood, may widen his physical life but automatically he is cut off from any province of religious being as ‘Thou shalt non kill, ‘ is one of the 10 commandments stated in the sanctum bible. Lucy Westerna and the three “ eldritch sisters ” , who are found to be under Dracula ‘s expletive, have an ageless physical life but are soulless. Stoker uses the construct of stressing hurting to place the effects of these adult females ‘s devastation. The “ eldritch sisters ” and Lucy still meet a decease that promises Christian redemption even though they have preyed on guiltless kids. For illustration, the un-dead Lucy, is transformed by her 2nd decease into the image of “ ” alone sugariness and pureness, ” and her psyche is returned to her organic structure integral, along with a “ holy composure ” that “ was to reign everlastingly. ” Equally good as the count ‘s face is covered with “ a expression of peace, such as [ Mina ] ne’er could hold imagined might hold rested at that place. ” Stoker highlights a preponderantly broad image of redemption by his usage of connoting that the saved do non purely have to be faithful trusters. In Dracula, all of the deceased are granted the alone peace of redemption and merely the “ un-dead ” do non have it.

Allan Ball, the Godhead of the HBO series True Blood, has made usage of the fictional lamias being accepted into the American society as a metaphor in relation to how the homosexual community battle for their rights. In case in the gap credits there is a mark that read the message, “ God, Hates Fangs ” and the lamias are stated to hold “ come out of the casket ” , it is besides noted that Vermont was the first province in America to legalize matrimony between lamias and worlds. True blood besides uses a watercourse of false intelligence footage that displays by and current civil rights issues, and relies to a great extent upon the politically-charged ambiance normally connected with civilization and societal issues. True Blood repeatedly raises this job, particularly how thematically rich the battle for homosexual rights has been. But it is rather a sensitive subject as traditionally lamias are depicted as, life-sucking, homicidal and unsafe, hence the comparing with homosexualism is meant to be handled finely. In the same manner Allan Ball besides cast a big portion of the dramatis personae as African Americans with them interacting with the Caucasic histrions in a equal mode even though the show is set in southern America it is a really controversial statement. Predominantly all of the lamias are Caucasic, who the anti-vampire community ( the Christian group, family of the sun commission ) position as immorality, taking a different return on who is depicted as immorality.

Vampires remain popular because their many manifestations can be easy redrawn depending upon the altering times, whether that be in the Victorian epoch with effects of modernness, the menace of female sexual look and the effects of abandoning traditional beliefs or in today ‘s society by picturing the battle for homosexual rights and racial equality.

Holly Murdoch



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