Kamis, 17 Januari 2013

LEGEND : VLAD THE IMPALER

Vlad the Impaler


Vlad III Dracula
Voivode of Wallachia

The Ambras Castle portrait of Vlad III, c. 1560, reputedly a copy of an original made during his lifetime[1]
Reign 1448; 1456–1462; 1476
Born November or December 1431[2]
Birthplace Sighișoara, Transylvania, Kingdom of Hungary
Died December 1476 or January 1477[2] (aged 45)
Place of death Bucharest, Wallachia
Royal House House of Drăculești (branch of the House of Basarab)
Father Vlad II Dracul
Mother Cneajna of Moldavia
Vlad III, Prince of Wallachia (1431–1476), was a member of the House of Drăculești, a branch of the House of Basarab, also known by his patronymic name: Dracula. He was posthumously dubbed Vlad the Impaler (Romanian: Vlad Țepeș pronounced [ˈvlad ˈt͡sepeʃ]), and was a three-time Voivode of Wallachia, ruling mainly from 1456 to 1462, the period of the incipient Ottoman conquest of the Balkans. His father, Vlad II Dracul, was a member of the Order of the Dragon, which was founded to protect Christianity in Eastern Europe. Vlad III is revered as a hero in Bulgaria as well for his protection of the Bulgarian population both south and north of the Danube. A significant number of Bulgarian common folk and remaining boyars (nobles) moved north of the Danube, recognized his leadership and become part of Wallachia, following his raids on the Ottomans. [3]
Vlad III spent much of his rule campaigning against the Ottoman Empire and its expansion.[4] As the cognomen 'The Impaler' suggests, his practice of impaling his enemies[5] is central to his historical reputation. During his lifetime, his reputation for excessive cruelty spread abroad, to Germany and elsewhere in Europe. The total number of his victims is estimated in the tens of thousands. The name of the vampire Count Dracula in Bram Stoker's 1897 novel Dracula was inspired by Vlad's patronymic.[5

Name

Bust of Vlad the Impaler near the birthplace plate
During his life Vlad wrote his name in Latin documents as Wladislaus Dragwlya, vaivoda partium Transalpinarum (1475).[6]
His Romanian patronymic Dragwlya (or Dragkwlya)[6] Dragulea, Dragolea, Drăculea[7] is a diminutive of the epithet Dracul carried by his father Vlad II, who in 1431 was inducted as a member of the Order of the Dragon, a chivalric order founded by Sigismund of Hungary in 1408. Dracul is the Romanian definite form, the -ul being the suffixal definite article (deriving from Latin ille). The noun drac "dragon" itself continues Latin draco. In Modern Romanian, the word drac has adopted the meaning of "devil" (the term for "dragon" now being balaur or dragon). This has led to misinterpretations of Vlad's epithet as characterizing him as "devilish".[citation needed]
Vlad's moniker of Țepeș ("Impaler") identifies his favourite method of execution. It was attached to his name posthumously, in ca. 1550.

House of Drăculeșt

The Drăculeşti were one of two major rival lines of Wallachian voivodes of the House of Basarab, the other being the Dăneşti. [1] These lines were in constant contest for the throne from the late fourteenth to the early sixteenth centuries. Descendents of the line of Drăculeşti would eventually come to dominate the rule of this principality until its unification with Transylvania and Moldavia by Mihai Viteazul in 1600. The line of the Drăculeşti began with Vlad II Dracul, one of the sons of one of the most important rulers of the Basarab dynasty, Mircea cel Bătrân. The name Drăculeşti is derived from the membership of Vlad II Dracul, "the Dragon," in the Order of the Dragon (founded 1408). One of the sons of Vlad II was Vlad III Drăculea, known also simply as "Dracula", i.e. "[son] of Dracul".

Members of the Drăculeşti line

Members of the Drăculeşti line who held the throne of Wallachia include the following:
Ruler Remark
Vlad II Dracul 1436-1442, 1443-1447; son of Mircea cel Bătrân
Mircea II 1442; son of Vlad II
Vlad III Drăculea 1448, 1456-1462, 1476; son of Vlad II
Radu cel Frumos 1462-1473, 1474; son of Vlad II
Vlad Călugărul 1481, 1482-1495; son of Vlad II
Radu cel Mare 1495-1508; son of Vlad Călugărul
Mihnea cel Rău 1508-1509; son of Vlad III
Mircea III Dracul 1510; son of Mihnea cel Rău
Vlad cel Tânăr 1510-1512; son of Vlad Călugărul
Radu de la Afumaţi 1522-1523, 1524, 1524-1525, 1525-1529; son of Radu cel Mare
Radu Bădica 1523-1524; son of Radu cel Mare
Vlad Înecatul   1530-1532; son of Vlad cel Tânăr
Vlad Vintilă de la Slatina 1532-1534, 1534-1535; son of Radu cel Mare
Radu Paisie 1534, 1535-1545; son of Radu cel Mare
Mircea Ciobanul 1545-1552, 1553–1554, 1558-1559; son of Radu cel Mare
Pătraşcu cel Bun 1554-1558; son of Radu Paisie
Petru cel Tânăr 1559-1568; son of Mircea Ciobanul
Alexandru II Mircea 1568-1574, 1574-1577; son of Mircea III Dracul
Vintilă 1574; son of Pătraşcu cel Bun
Mihnea Turcitul 1577-1583, 1585-1591; son of Alexandru II Mircea
Petru Cercel 1583-1585; son of Pătraşcu cel Bun
Mihai Viteazul 1593-1600; possibly a son of Pătraşcu cel Bun                                                                     

Family

Early life

Vlad was born in Sighișoara, Transylvania, in the Kingdom of Hungary (today part of Romania), in the winter of 1431 to Vlad II Dracul, future voivode of Wallachia. Vlad's father was the son of the celebrated Voivode Mircea the Elder. His mother is believed to be the second wife of Vlad Dracul, Princess Cneajna of Moldavia, eldest daughter of Alexandru cel Bun and aunt to Stephen the Great of Moldavia.[8] He had two older half-brothers, Mircea II and Vlad Călugărul, and a younger brother, Radu III the Handsome.
In the year of his birth, Vlad's father, known under the nickname Dracul, had traveled to Nuremberg where he had been vested into the Order of the Dragon. At the age of five, young Vlad was also initiated into the Order.[2]
Vlad and Radu spent their early formative years in Sighișoara under the care and tutelage of their mother and the wives of other exiled boyars. During the first reign of their father, Vlad II Dracul, the Voivode brought his young sons to Târgoviște, the capital of Wallachia at that time.
The Byzantine chancellor Mikhail Doukas showed that, at Târgoviște, the sons of boyars and ruling princes were well-educated by Romanian or Greek scholars commissioned from Constantinople. Vlad is believed to have learned combat skills, geography, mathematics, science, languages (Old Church Slavonic, German, Latin), and the classical arts and philosophy.[9]

Life in Edirne

In 1436, Vlad II Dracul ascended the throne of Wallachia. He was ousted in 1442 by rival factions in league with Hungary, but secured Ottoman support for his return by agreeing to pay the Jizya (tax on non-Muslims) to the Sultan.
Vlad II also sent his two legitimate sons, Vlad and Radu, to the Ottoman court, to serve as hostages of his loyalty. Radu converted to Islam, entered the service of Sultan Murad II's son, Mehmed II (later known as the Conqueror), and was allowed into the Topkapı Palace. Radu was also honored by the title Bey and was given command of the Janissary contingents.
These years presumably had a great influence on Vlad's character and led to Vlad's well-known hatred for the Ottoman Turks, the Janissary, his brother Radu for converting to Islam and the young Turkish prince Mehmed II (even after he became sultan). He was envious of his father's preference for his elder brother, Mircea II and half brother, Vlad Călugărul. He also distrusted the Hungarians and his own father for trading him to the Turks and betraying the Order of the Dragon's oath to fight the Ottoman Empire.
Vlad was later released under probation and taken to be educated in logic, the Quran and the Turkish language and works of literature. He would speak this language fluently in his later years.[10] He and his brother were also trained in warfare and riding horses. The boys' father, Vlad Dracul, was awarded the support of the Ottomans and returned to Wallachia and took back his throne from Basarab II and some unfaithful Boyars.

First marriage

Vlad's first wife bore him two sons: Mihnea I "the Bad" (Mihnea I cel Rău, ?-1510) and Mihail (?-1485).
According to local legend, she died during the siege of Poenari Castle, which was surrounded by the Ottoman army led by his brother Radu Bey and the Wallachian Janissary. A woodland archer, having seen the shadow of Vlad's wife behind a window, shot an arrow through the window into Vlad's main quarters with a message warning him that Radu's army was approaching. McNally and Florescu explain that the archer was one of Vlad's relatives who sent the warning out of loyalty despite having converted to Islam and served in the ranks of Radu. Upon reading the message, Vlad's wife threw herself from the tower into a tributary of the Argeș River flowing below the castle, saying she would rather rot and be eaten by the fish of the Argeș than be led into captivity by the Turks. Today, the tributary is called Râul Doamnei (the "Lady's River", also called the Princess's River).

Second marriage

Gradually winning back King Matthias's favour, he married Ilona Szilágyi of Wallachia, a sister or cousin of the king (sources vary and disagree on what her relation was), and in the years before his final release in 1474, had her as a companion in his captivity.

Genealogy

In October 2011, Prince Charles publicly claimed that he is a descendant of Vlad the Impaler. The claim accompanied his announcement of a pledge to help conserve the forested areas of Transylvania.[11] Radu Florescu documented on page 193 of his book, "Dracula: Prince of Many Faces" that the Holy Roman Emperor Ferdinand I granted Ladislas Dracula and his brother John recognition as Dracula's direct descendants: based on their documentation, the Emperor granted them letters patent (a patent of nobility) on January 20, 1535, in which their descent is described and also specific mention is made in the patent of "the ancient insignia of Ladislas's family" as being the same as that of the Bathory family--i.e., gules (red) a sword covering three wolf teeth.

First reign and exile

In December 1447, boyars in league with the Hungarian regent John Hunyadi rebelled against Vlad II Dracul and killed him in the marshes near Bălteni. Mircea, Dracul's eldest son and heir, was blinded and buried alive at Târgoviște.
To prevent Wallachia from falling into the Hungarian fold, the Ottomans invaded Wallachia and put young Vlad III on the throne. However, this rule was short-lived as Hunyadi himself now invaded Wallachia and restored his ally Vladislav II, of the Dănești clan, to the throne.
Vlad fled to Moldavia, where he lived under the protection of his uncle, Bogdan II. In October 1451, Bogdan was assassinated and Vlad fled to Hungary. Impressed by Vlad's vast knowledge of the mindset and inner workings of the Ottoman Empire as well as his hatred of the new sultan Mehmed II, Hunyadi reconciled with his former rival and made him his advisor.
After the Fall of Constantinople to Mehmed II in 1453, Ottoman influence began to spread from this base through the Carpathians, threatening mainland Europe, and by 1481 conquering the entire Balkans peninsula. Vlad's rule thus falls entirely within the three decades of the Ottoman conquest of the Balkans.
In 1456, three years after the Ottomans had conquered Constantinople, they threatened Hungary by besieging Belgrade. Hunyadi began a concerted counter-attack in Serbia: while he himself moved into Serbia and relieved the siege (before dying of the plague), Vlad led his own contingent into Wallachia, reconquered his native land and killed Vladislav II in hand-to-hand combat.[citation needed]

Second reign

Internal policy

Vlad found Wallachia in a wretched state: constant war had resulted in rampant crime, falling agricultural production, and the virtual disappearance of trade. Regarding a stable economy essential to resisting external enemies, he used severe methods to restore order and prosperity.
Vlad had three aims for Wallachia: to strengthen the country's economy, its defense, and his own political power. He took measures to help the peasants' well-being by building new villages and raising agricultural output. He understood the importance of trade for the development of Wallachia. He helped the Wallachian merchants by limiting foreign merchant trade to three market towns: Târgșor, Câmpulung and Târgoviște.
Vlad considered the boyars the chief cause of the constant strife as well as of the death of his father and brother. To secure his rule, he had many leading nobles killed and gave positions in his council, traditionally belonging to the greatest boyars, to persons of obscure origins, who would be loyal to him alone, and some to foreigners. For lower offices, Vlad preferred knights and free peasants to boyars. In his aim of fixing up Wallachia, Vlad issued new laws punishing thieves. Vlad treated the boyars with the same harshness, believing them guilty of weakening Wallachia through their personal struggles for power.
The army was also strengthened. He had a small personal guard, mostly made of mercenaries, who were rewarded with loot and promotions. He also established a militia or ‘lesser army’ made up of peasants called to fight whenever war came.
Vlad Dracula built a church at Târgșor (allegedly in the memory of his father and older brother who were killed nearby), and he contributed with money to the Snagov Monastery and to the Comana Monastery fortifications.[12]

Raids into Transylvania

Since the Wallachian nobility was linked to the Transylvanian Saxons, Vlad also acted against them by eliminating their trade privileges and raiding their cities. In 1459, he had several Saxon settlers of Brașov (Kronstadt) impaled.[13][14]

War with the Ottomans

In 1459, Pope Pius II called for a new crusade against the Ottomans, at the Congress of Mantua. In this crusade, the main role was to be played by Matthias Corvinus, son of John Hunyadi (János Hunyadi), the King of Hungary. To this effect, Matthias Corvinus received from the Pope 40,000 golden coins, an amount that was thought to be enough to gather an army of 12,000 men and purchase 10 Danube warships. In this context, Vlad allied himself with Matthias Corvinus, with the hope of keeping the Ottomans out of the country (Wallachia was claimed as a part of the Ottoman Empire by Sultan Mehmed II).
Vlad the Impaler and the Turkish Envoys. Painting by Theodor Aman.
Later that year, in 1459, Ottoman Sultan Mehmed II sent envoys to Vlad to urge him to pay a delayed Jizya (tax on non-Muslims) of 10,000 ducats and 500 recruits into the Ottoman forces. Vlad refused, because if he had paid the 'tribute', as the tax was called at the time, it would have meant a public acceptance of Wallachia as part of the Ottoman Empire. Vlad, just like most of his predecessors and successors, had as a primary goal to keep Wallachia as independent as possible. Vlad had the Turkish envoys killed on the pretext that they had refused to raise their "hats" to him, by nailing their turbans to their heads.
Meanwhile, the Sultan received intelligence reports that revealed Vlad's domination of the Danube.[15] He sent the Bey of Nicopolis, Hamza Pasha, to make peace and, if necessary, eliminate Vlad III.[15]
Vlad Țepeș planned to set an ambush. Hamza Pasha, the Bey of Nicopolis, brought with him 1000 cavalry and when passing through a narrow pass north of Giurgiu, Vlad launched a surprise attack. The Wallachians had the Turks surrounded and defeated. The Turks' plans were thwarted and almost all of them caught and impaled, with Hamza Pasha impaled on the highest stake to show his rank.[15]
In the winter of 1462, Vlad crossed the Danube and devastated the entire Bulgarian land in the area between Serbia and the Black Sea. Disguising himself as a Turkish Sipahi, he infiltrated and destroyed Ottoman camps. In a letter to Corvinus dated 2 February, he wrote:
Transylvanian Saxon engraving from 1462 depicting Vlad Țepeș
A woodcut depicting Vlad Țepeș published in Nuremberg in 1488 on the title page of the pamphlet Die geschicht dracole waide.
I have killed peasants men and women, old and young, who lived at Oblucitza and Novoselo, where the Danube flows into the sea, up to Rahova, which is located near Chilia, from the lower Danube up to such places as Samovit and Ghighen. We killed 23,884 Turks without counting those whom we burned in homes or the Turks whose heads were cut by our soldiers...Thus, your highness, you must know that I have broken the peace with him (Sultan Mehmed II).[13][16]
In response to this, Sultan Mehmed II raised an army of around 60,000 troops and 30,000 irregulars,[17] and in spring of 1462 headed towards Wallachia. Commanding at best only 30,000 to 40,000 men (depending of the source),[citation needed] Vlad was unable to stop the Ottomans from crossing the Danube on June 4, 1462 and entering Wallachia. He constantly organized small attacks and ambushes on the Turks, such as The Night Attack when 15,000 Turks were killed.[2] This infuriated Mehmed II, who then crossed the Danube. With the exception of some Turkish references all the other chronicles at the time that mention the 1462 campaign state that the Sultan was defeated.[citation needed] Apparently, the Turks retreated in such a hurry that by July 11, 1462 the Sultan was already in Adrianopolis.[citation needed]. According to the Byzantine historian Chalcocondil[citation needed], Radu, brother of Vlad III and ingratiate of the Sultan, was left behind in Targoviste with the hope that he would be able to gather an anti-Vlad clique that would ultimately get rid of Vlad as Voivode of Wallachia and crown Radu as the new puppet ruler.
Vlad the Impaler's attack was celebrated by the Saxon cities of Transylvania, the Italian states and the Pope. A Venetian envoy, upon hearing about the news at the court of Corvinus on 4 March, expressed great joy and said that the whole of Christianity should celebrate Vlad Țepeș's successful campaign. The Genoese from Caffa also thanked Vlad, for his campaign had saved them from an attack of some 300 ships that the sultan planned to send against them.[16]

Defeat

Vlad's younger brother Radu cel Frumos and his Janissary battalions were given the task of leading the Ottoman Empire to victory at all expense by Sultan Mehmet II. After the Sipahis' incursions failed to subdue Vlad, the few remaining Sipahi were killed in a night raid by Vlad III in 1462. However, as the war raged on, Radu and his formidable Janissary battalions were well supplied with a steady flow of gunpowder and dinars; this allowed them to push deeper into the realm of Vlad III. Radu and his well-equipped forces finally besieged Poenari Castle, the famed lair of Vlad III. After his difficult victory Radu was given the title Bey of Wallachia by Sultan Mehmed II.
Vlad III's defeat at Poenari was due in part to the fact that the Boyars, who had been alienated by Vlad's policy of undermining their authority, had joined Radu under the assurance that they would regain their privileges. They may have also believed that Ottoman protection was better than Hungarian. It was said as well that Radu (through his spies or traitors) found the place where some Boyars' families were hidden during the war (probably some forests around Snagov) and blackmailed them to come to his side.
By 8 September, Vlad had won another three victories, but continuous war had left him without any money and he could no longer pay his mercenaries. Vlad traveled to Hungary to ask for help from his former ally, Matthias Corvinus. Instead of receiving help, he found himself arrested and thrown into the dungeon for high treason. Corvinus, not planning to get involved in a war after having spent the Papal money meant for it on personal expenses, forged a letter from Vlad III to the Ottomans where he supposedly proposed a peace with them, to give an explanation for the Pope and a reason to abandon the war and return to his capital.

Captivity in Hungary

Vlad was imprisoned at Oratia, a fortress located at Podu Dâmboviței Bridge. A period of imprisonment in Visegrád near Buda followed, where the Wallachian prince was held for 10 years. Then he was imprisoned in Buda.
The exact length of Vlad's period of captivity is open to some debate, though indications are that it was from 1462 until 1474. Diplomatic correspondence from Buda seems to indicate that the period of Vlad's effective confinement was relatively short. Radu's openly pro-Ottoman policy as voivode probably contributed to Vlad's rehabilitation. Moreover, Ștefan cel Mare, Voievod of Moldavia and relative of Vlad intervened on his behalf to be released from prison as the Ottoman pressure on the territories north of the Danube was increasing.

Third reign and death

Vlad the Impaler as Pontius Pilate judging Jesus Christ. National Gallery, Ljubljana, 1463.[citation needed]
After Radu's sudden death in 1475, Vlad III declared his third reign in 26 November 1476. Vlad began preparations for the reconquest of Wallachia in 1476 with Hungarian support. Vlad's third reign had lasted little more than two months when he was assassinated.[18][19] The exact date of his death is unknown, presumably the end of December 1476, but it is known that he was dead by 10 January 1477. The exact location of his death is also unknown, but it would have been somewhere along the road between Bucharest and Giurgiu. Vlad's head was taken to Constantinople as a trophy, and his body was buried unceremoniously by his rival, Basarab Laiota, possibly at Comana, a monastery founded by Vlad in 1461.[20] The Comana monastery was demolished and rebuilt from scratch in 1589.[21]
In the 19th century, Romanian historians cited a "tradition", apparently without any kind of support in documentary evidence, that Vlad was buried at Snagov, an island monastery located near Bucharest. To support this theory, the so-called Cantacuzino Chronicle was cited, which cites Vlad as the founder of this monastery. But as early as 1855, Alexandru Odobescu had established that this is impossible as the monastery had been in existence before 1438. Since excavations carried out by Dinu V Rosetti in June– October 1933, it has become clear that Snagov monastery was founded during the later 14th century, well before the time of Vlad III. The 1933 excavation also established that there was no tomb below the supposed "unmarked tombstone" of Vlad in the monastery church. Rosetti (1935) reported that “Under the tombstone attributed to Vlad there was no tomb. Only many bones and jaws of horses. " In the 1970s, speculative attribution of an anonymous tomb found elsewhere in the church to Vlad Tepes was published by Simion Saveanu, a journalist who wrote a series of articles on the occasion of the 500th anniversary of Vlad's death.[21] Most Romanian historians today favor the Comana monastery as the final resting place for Vlad Tepes.[20]

Legacy

Reputation for cruelty

Even during his lifetime, Vlad III Țepeș became famous as a tyrant taking sadistic pleasure in torturing and killing.[22] He is shown in cryptoportraits made during his lifetime in the role of cruel rulers or executioners. After Vlad's death, his cruel deeds were reported with macabre gusto in popular pamphlets in Germany, reprinted from the 1480s until the 1560s, and to a lesser extent in Tsarist Russia.
Vlad the Impaler as Aegeas, the Roman proconsul in Patras, crucifying Saint Andrew. Approximately 1470–1480, Belvedere Galleries, Vienna.[citation needed]
Estimates of the number of his victims range from 40,000 to 100,000, comparable to the cumulative number of executions over four centuries of European witchhunts.[23] According to the German stories the number of victims he had killed was at least 80,000. In addition to the 80,000 victims mentioned he also had whole villages and fortresses destroyed and burned to the ground.[24]
Impalement was Vlad's preferred method of torture and execution. Several woodcuts from German pamphlets of the late 15th and early 16th centuries show Vlad feasting in a forest of stakes and their grisly burdens outside Brașov, while a nearby executioner cuts apart other victims. It was reported that an invading Ottoman army turned back in fright when it encountered thousands of rotting corpses on the banks of the Danube.[13] It has also been said that in 1462 Mehmed II, the conqueror of Constantinople, a man noted for his own psychological warfare tactics, returned to Constantinople after being sickened by the sight of 20,000 impaled corpses outside Vlad's capital of Târgoviște.[25]
Allegedly, Vlad's reputation for cruelty was actively promoted by Matthias Corvinus, who tarnished Vlad’s reputation and credibility for a political reason: as an explanation for why he had not helped Vlad fight the Ottomans in 1462, for which purpose he had received money from most Catholic states in Europe.[citation needed] Matthias employed the charges of Southeastern Transylvania, and produced fake letters of high treason, written on 7 November 1462.[citation needed]

German sources

The German stories circulated first in manuscript form in the late 15th century and the first manuscript was probably written in 1462 before Vlad's arrest.[26] The text was later printed in Germany and had a major impact on the general public, becoming a best-seller of its time with numerous later editions adding to and altering the original text.
1499 German woodcut showing Dracule waide dining among the impaled corpses of his victims.
In addition to the manuscripts and pamphlets the German version of the stories can be found in the poem of Michael Beheim. The poem called "Von ainem wutrich der hies Trakle waida von der Walachei" ("Story of a Madman Named Dracula of Wallachia") was written and performed at the court of Frederick III, Holy Roman Emperor during the winter of 1463.[27]
To this day four manuscripts and 13 pamphlets have been found, as well as the poem by Michel Beheim. The surviving manuscripts date from the last quarter of the 15th century to the year 1500 and the found pamphlets date from 1488 to 1559–1568.
Eight of the pamphlets are incunabula: they were printed before 1501. The German stories about Vlad the Impaler consist of 46 short episodes, although none of the manuscripts, pamphlets or the poem of Beheim contain all 46 stories.
All of them begin with the story of the old governor, John Hunyadi, having Vlad's father killed, and how Vlad and his brother renounced their old religion and swore to protect and uphold the Christian faith. After this, the order and titles of the stories differ by manuscript and pamphlet editions.[24]

Russian sources

The Russian or the Slavic version of the stories about Vlad the Impaler called "Skazanie o Drakule voevode" ("The Tale of Warlord Dracula") is thought to have been written sometime between 1481 and 1486. Copies were made from the 15th century to the 18th century, of which some twenty-two extant manuscripts survive in Russian archives.[28] The oldest one, from 1490, ends as follows: "First written in the year 6994 of the Byzantine calendar (1486), on 13 February; then transcribed by me, the sinner Efrosin, in the year 6998 (1490), on 28 January". The Tales of Prince Dracula is neither chronological nor consistent, but mostly a collection of anecdotes of literary and historical value concerning Vlad Țepeș.
There are 19 anecdotes in The Tales of Prince Dracula which are longer and more constructed than the German stories. The Tales can be divided into two sections: The first 13 episodes are non-chronological events most likely closer to the original folkloric oral tradition about Vlad. The last six episodes are thought to have been written by a scholar who collected them, because they are chronological and seem to be more structured. The stories begin with a short introduction and the anecdote about the nailing of hats to ambassadors' heads. They end with Vlad's death and information about his family.[29]
Of the 19 anecdotes there are ten that have similarities to the German stories.[30] Although there are similarities between the Russian and the German stories about Vlad, there is a clear distinction in the attitude towards him. The Russian stories tend to portray him in a more positive light: he is depicted as a great ruler, a brave soldier and a just sovereign. Stories of atrocities tend to seem to be justified as the actions of a strong ruler. Of the 19 anecdotes, only four seem to have exaggerated violence.[29] Some elements of the anecdotes were later added to Russian stories about Ivan the Terrible of Russia.[31]
The nationality and identity of the original writer of the anecdotes Dracula is disputed. The two most plausible explanations are that the writer was either a Romanian priest or a monk from Transylvania, or a Romanian or Moldavian from the court of Stephen the Great in Moldavia. One theory claims the writer was a Russian diplomat named Fyodor Kuritsyn.[32]

Ambras Castle portrait

A contemporary portrait of Vlad III, rediscovered by Romanian historians in the late 19th century, had been featured in the gallery of horrors at Innsbruck's Ambras Castle. This original has been lost to history, but a larger copy, painted anonymously in the first half of the 16th century, now hangs in the same gallery.[1][2] This copy, unlike the cryptoportraits contemporary with Vlad III, seems to have given him a Habsburg lip.[citation needed]

Popular culture

Romanian patriotism

Romanian and Bulgarian documents from 1481 onwards portray Vlad as a hero, a true leader, who used harsh yet fair methods to reclaim the country from the corrupt and rich boyars. Moreover, all his military efforts were directed against the Ottoman Empire which explicitly wanted to conquer Wallachia. Excerpt from "The Slavonic Tales":
And he hated evil in his country so much that, if anyone committed some harm, theft or robbery or a lye or an injustice, none of those remained alive. Even if he was a great boyar or a priest or a monk or an ordinary man, or even if he had a great fortune, he couldn't pay himself from death. [33]
An Italian writer, Michael Bocignoli from Ragusa, in his writings from 1524, refers to Vlad Tepes as:
It was once (in Valahia), a prince Dragul by his name, a very wise and skillful man in war. [34]
(In Latin in the original text: Inter eos aliquando princeps fuit, quem voievodam appellant, Dragulus nomine, vir acer et militarium negotiorum apprime peritus.)[35]
In "Letopisetul cantacuzinesc", a historic chronicle written by Stoica Ludescu from the Cantacuzino family around 1688, Vlad orders the boyars to build the fortress Poenari with their own hands. Later in the document, Ludescu refers to the (re)crowning of Vlad as a happy event:
Voievod Vlad sat on the throne and all the country came to pay respect, and brought many gifts and they went back to their houses with great joy. And Voievod Vlad with the help of God grew into much good and honor as long as he kept the reign of those just people. [36]
(In Romanian in the original text: De aciia șăzu în scaun Vladul-vodă și veni țara de i să închină, și aduse daruri multe și să întoarseră iarăși cine pre la case-și cu mare bucurie. Iar Vladul-vodă cu ajutorul lui Dumnezeu creștea întru mai mari bunătăți și în cinste pân' cât au ținut sfatul acelui neam drept.)
Around 1785, Ioan Budai-Deleanu, a Romanian writer,and renowned historian, wrote a Romanian epic heroic poem, "Țiganiada", in which prince Vlad Țepeș stars as a fierce warrior fighting the Ottomans. Later, in 1881, Mihai Eminescu, one of the greatest Romanian poets, in "Letter 3", popularizes Vlad's image in modern Romanian patriotism, having him stand as a figure to contrast with presumed social decay under the Phanariotes and the political scene of the 19th century. The poem even suggests that Vlad's violent methods be applied as a cure. In the final lyrics, the poet makes a call to Vlad Tepes (i. e. Dracula) to come, to sort the contemporaries into two teams: fool and rotten and then set fire to the prison and to the fools' home.[37]
(In Romanian in the original text:
Dar lăsaţi măcar strămoşii ca să doarmă-n colb de cronici;
Din trecutul de mărire v-ar privi cel mult ironici.
Cum nu vii tu, Ţepeş doamne, ca punând mâna pe ei,
Să-i împarţi în două cete: în smintiţi şi în mişei,
Şi în două temniţi large cu de-a sila să-i aduni,
Să dai foc la puşcărie şi la casa de nebuni!)
In contrast, documents of Germanic, Saxon, and Hungarian origin portray Vlad as a tyrant, a monster so cruel that he needs to be stopped. For example, Johan Christian Engel characterizes Vlad as "a cruel tyrant and a monster of humankind".[38] Several authors and historians believe that this may be the result of a bad image campaign initiated by the Transylvanian Saxons who were actively persecuted during Vlad's reign and later maintained and spread by Matthias Corvinus.[26][38][39][40] It is conceivable that these actions were not beyond the Hungarian King since he had already framed Vlad Tepes by producing a forged letter to incriminate Vlad of coalition with the Turks; however, there is incontestable evidence, both in Romanian and foreign documents, including Vlad's own letters, that he killed tens of thousands of people in horrible ways.

Bram Stoker

The connection of the name "Dracula" with vampirism was made by Bram Stoker, who probably found the name of his Count Dracula character in William Wilkinson's book, An Account of the Principalities of Wallachia and Moldavia: with various Political Observations Relating to Them.[41] It is known that Stoker made notes about this book.[42] It is also suggested that Stoker may have been made aware of the reputation of Vlad through an acquaintance of his, Hungarian professor Ármin Vámbéry from Budapest. The fact that character Dr. Abraham Van Helsing states in the 1897 novel that the source of his knowledge about Count Dracula is his friend Arminius appears to support this hypothesis, although there is no specific evidence that Stoker and Vambéry ever discussed Wallachian history.
Referring to a letter from his friend Arminius, van Helsing comments:
He must, indeed, have been that Voivode Dracula who won his name against the Turk, over the great river on the very frontier of Turkey-land. (Chapter 18, pp 145)
This encourages the reader to identify the Vampire Count with the Voivode Dracula first mentioned by him, the one betrayed by his own brother: Vlad III Dracula betrayed by his brother Radu the Handsome. But as noted by the Dutch author Hans Corneel de Roos, in Chapter 25, Van Helsing and Mina drop this rudimentary connection and instead describe the Count's personal past as that of "that other of his race" who lived "in a later age". This way, Stoker avoided the possibility that his main character could be definitely linked to any specific historical person.[43]

Documentaries and films

Unlike the many films based on the fictitious Dracula character, there have been few movies about the real man who inspired Bram Stoker's creation.
The 1975 documentary In Search of Dracula explores the history and legends of Vlad the Impaler and the connection between the historical character and the vampire of Stoker's novel. Both the historical and literary Dracula are portrayed in the film by Christopher Lee, best known for his numerous portrayals of the fictional Dracula in films ranging from the 1950s to the 1970s.[44]
In 1979, a more historically accurate Romanian film called Vlad Țepeș (sometimes known, in other countries, as The True Story of Vlad the Impaler) was released, based on his six-year reign and brief return to power in late 1476. The character is portrayed in a mostly positive perspective, though the film also mentions the excesses of his regime and his practice of impalement. The lead character is played by Ștefan Sileanu.[45]
Vlad was depicted in his youth in the 1989 Romanian film Mircea, which focused on the reign of his grandfather, Mircea I of Wallachia (AD 1386-1418).
Vlad was also depicted in the 2000 film, "Dark Prince: The True Story of Dracula".

Music

Vlad is portrayed in the 2010 release, Vlad the Impaler (song), by Kasabian. The track was complemented by a music video featuring Noel Fielding as Vlad.

Non-fiction Biographies

A range of biographies are available, but most mix the vampire-myth with historic facts. An exception is 'In the Shadow of Empires' (2012), an easy to read biography that stays with the historic facts and ignores the vampire.





LEGEND: VAMPIRE,THE CHARMING KILLER


                                       Vampire



The Vampire, by Philip Burne-Jones, 1897
Vampires are mythological or folkloric beings who subsist by feeding on the life essence (generally in the form of blood) of living creatures, regardless of whether they are undead or a living person/being.[1][2][3][4][5][6] Although vampiric entities have been recorded in many cultures, and may go back to "prehistoric times",[7] the term vampire was not popularized until the early 18th century, after an influx of vampire superstition into Western Europe from areas where vampire legends were frequent, such as the Balkans and Eastern Europe,[8] although local variants were also known by different names, such as vrykolakas in Greece and strigoi in Romania. This increased level of vampire superstition in Europe led to mass hysteria and in some cases resulted in corpses actually being staked and people being accused of vampirism.
While even folkloric vampires of the Balkans and Eastern Europe had a wide range of appearance ranging from nearly human to bloated rotting corpses, it was interpretation of the vampire by the Christian Church and the success of vampire literature,[9][10] namely John Polidori's 1819 novella The Vampyre that established the archetype of charismatic and sophisticated vampire; it is arguably the most influential vampire work of the early 19th century,[11] inspiring such works as Varney the Vampire and eventually Dracula.[12] The Vampyre was itself based on Lord Byron's unfinished story "Fragment of a Novel", also known as "The Burial: A Fragment", published in 1819.
However, it is Bram Stoker's 1897 novel Dracula that is remembered as the quintessential vampire novel and which provided the basis of modern vampire fiction. Dracula drew on earlier mythologies of werewolves and similar legendary demons and "was to voice the anxieties of an age", and the "fears of late Victorian patriarchy".[13] The success of this book spawned a distinctive vampire genre, still popular in the 21st century, with books, films, video games, and television shows. The vampire is such a dominant figure in the horror genre that literary historian Susan Sellers places the current vampire myth in the "comparative safety of nightmare fantasy"

Etymology

The Oxford English Dictionary dates the first appearance of the word vampire in English from 1734, in a travelogue titled Travels of Three English Gentlemen published in theHarleian Miscellany in 1745.[14][15] However, earlier references to the word vampire can be found in the form of vampyre. An example is found in re-telling the famous case of Arnold Paole, where the London Journal of March 11, 1732, describes vampyres in Hungary (actually northern Serbia) as sucking the blood of the living.[16] Vampires had already been discussed in French[17] and German literature.[18] After Austria gained control of northern Serbia and Oltenia with the Treaty of Passarowitz in 1718, officials noted the local practice of exhuming bodies and "killing vampires".[18] These reports, prepared between 1725 and 1732, received widespread publicity.[18]
The English term was derived (possibly via French vampyre) from the German Vampir, in turn derived in the early 18th century from the Serbian вампир/vampir,[19][20][21][22][23][24]when Arnold Paole, a purported vampire in Serbia was described during the time Serbia was incorporated into the Austrian Empire.
The Serbian form has parallels in virtually all Slavic languagesBulgarian and Macedonian вампир (vampir), Croatian vampirCzech and Slovak upírPolish wąpierz, and (perhapsEast Slavic-influenced) upiórUkrainian упир (upyr), Russian упырь (upyr'), Belarusian упыр (upyr), from Old East Slavic упирь (upir'). (Note that many of these languages have also borrowed forms such as "vampir/wampir" subsequently from the West; these are distinct from the original local words for the creature.) The exact etymology is unclear.[25] Among the proposed proto-Slavic forms are *ǫpyrь and *ǫpirь.[26] Another, less widespread theory, is that the Slavic languages have borrowed the word from a Turkic term for "witch" (e.g.,Tatar ubyr).[26][27]
Czech linguist Václav Machek proposes Slovak verb "vrepiť sa" (stick to, thrust into), or its hypothetical anagram "vperiť sa" (in Czech, archaic verb "vpeřit" means "to thrust violently") as an etymological background, and thus translates "upír" as "someone who thrusts, bites". [28]
An early use of the Old Russian word is in the anti-pagan treatise "Word of Saint Grigoriy", dated variously to the 11th–13th centuries, where pagan worship of upyri is reported.

Folk beliefs

The notion of vampirism has existed for millennia; cultures such as the MesopotamiansHebrewsAncient Greeks, and Romans had tales of demons and spirits which are considered precursors to modern vampires. However, despite the occurrence of vampire-like creatures in these ancient civilizations, the folklore for the entity we know today as the vampire originates almost exclusively from early-18th-century southeastern Europe,[8] when verbal traditions of many ethnic groups of the region were recorded and published. In most cases, vampires are revenants of evil beings, suicide victims, or witches, but they can also be created by a malevolent spirit possessing a corpse or by being bitten by a vampire. Belief in such legends became so pervasive that in some areas it caused mass hysteria and even public executions of people believed to be vampires.[31]

Description and common attributes


Vampyren, "The Vampire", by Edvard Munch
It is difficult to make a single, definitive description of the folkloric vampire, though there are several elements common to many European legends. Vampires were usually reported as bloated in appearance, and ruddy, purplish, or dark in colour; these characteristics were often attributed to the recent drinking of blood. Indeed, blood was often seen seeping from the mouth and nose when one was seen in its shroud or coffin and its left eye was often open.[32] It would be clad in the linen shroud it was buried in, and its teeth, hair, and nails may have grown somewhat, though in general fangs were not a feature.[33]

Creating vampires

The causes of vampiric generation were many and varied in original folklore. In Slavic and Chinese traditions, any corpse that was jumped over by an animal, particularly a dog or a cat, was feared to become one of the undead.[34] A body with a wound that had not been treated with boiling water was also at risk. In Russian folklore, vampires were said to have once been witches or people who had rebelled against the Russian Orthodox Church while they were alive.[35]
Cultural practices often arose that were intended to prevent a recently deceased loved one from turning into an undead revenant. Burying a corpse upside-down was widespread, as was placing earthly objects, such as scythes or sickles,[36] near the grave to satisfy any demons entering the body or to appease the dead so that it would not wish to arise from its coffin. This method resembles the Ancient Greek practice of placing an obolus in the corpse's mouth to pay the toll to cross the River Styx in the underworld; it has been argued that instead, the coin was intended to ward off any evil spirits from entering the body, and this may have influenced later vampire folklore. This tradition persisted in modern Greek folklore about the vrykolakas, in which a wax cross and piece of pottery with the inscription "Jesus Christ conquers" were placed on the corpse to prevent the body from becoming a vampire.[37] Other methods commonly practised in Europe included severing thetendons at the knees or placing poppy seeds, millet, or sand on the ground at the grave site of a presumed vampire; this was intended to keep the vampire occupied all night by counting the fallen grains,[38] indicating an association of vampires with arithmomania. Similar Chinese narratives state that if a vampire-like being came across a sack of rice, it would have to count every grain; this is a theme encountered in myths from the Indian subcontinent, as well as in South American tales of witches and other sorts of evil or mischievous spirits or beings.[39] In Albanian folklore, the dhampir is the son of the karkanxholl or the lugat. If the karkanxholl sleeps with his wife, and she is impregnated with a child, the offspring is called dhampir and has the unique ability to discern the karkanxholl; from this derives the expression the dhampir knows the lugat. The lugat cannot be seen, he can only be killed by the dhampir, who himself is usually the son of a lugat. In different regions, animals can be revenants as lugats; also, living people during their sleep.Dhampiraj is also an Albanian surname.[40]

Identifying vampires

Many elaborate rituals were used to identify a vampire. One method of finding a vampire's grave involved leading a virgin boy through a graveyard or church grounds on a virgin stallion—the horse would supposedly baulk at the grave in question.[35] Generally a black horse was required, though in Albania it should be white.[41] Holes appearing in the earth over a grave were taken as a sign of vampirism.[42]
Corpses thought to be vampires were generally described as having a healthier appearance than expected, plump and showing little or no signs of decomposition.[43] In some cases, when suspected graves were opened, villagers even described the corpse as having fresh blood from a victim all over its face.[44] Evidence that a vampire was active in a given locality included death of cattle, sheep, relatives or neighbours. Folkloric vampires could also make their presence felt by engaging in minor poltergeist-like activity, such as hurling stones on roofs or moving household objects,[45] and pressing on people in their sleep.[46]

Protection


An image from Max Ernst's Une Semaine de Bonté
Apotropaics
Apotropaics, items able to ward off revenants, are common in vampire folklore. Garlic is a common example,[47] a branch of wild rose andhawthorn plant are said to harm vampires, and in Europe, sprinkling mustard seeds on the roof of a house was said to keep them away.[48] Other apotropaics include sacred items, for example a crucifixrosary, or holy water. Vampires are said to be unable to walk onconsecrated ground, such as that of churches or temples, or cross running water.[49] Although not traditionally regarded as an apotropaic, mirrors have been used to ward off vampires when placed, facing outwards, on a door (in some cultures, vampires do not have a reflection and sometimes do not cast a shadow, perhaps as a manifestation of the vampire's lack of a soul).[50] This attribute, although not universal (the Greek vrykolakas/tympanios was capable of both reflection and shadow), was used by Bram Stoker in Dracula and has remained popular with subsequent authors and filmmakers.[51] Some traditions also hold that a vampire cannot enter a house unless invited by the owner, although after the first invitation they can come and go as they please.[50] Though folkloric vampires were believed to be more active at night, they were not generally considered vulnerable to sunlight.[51]
Methods of destruction
Methods of destroying suspected vampires varied, with staking the most commonly cited method, particularly in southern Slavic cultures.[52] Ash was the preferred wood in Russia and the Baltic states,[53] or hawthorn in Serbia,[54] with a record of oak in Silesia.[55]Potential vampires were most often staked through the heart, though the mouth was targeted in Russia and northern Germany[56][57] and the stomach in north-eastern Serbia.[58] Piercing the skin of the chest was a way of "deflating" the bloated vampire; this is similar to the act of burying sharp objects, such as sickles, in with the corpse, so that they may penetrate the skin if the body bloats sufficiently while transforming into a revenant.[59] Decapitation was the preferred method in German and western Slavic areas, with the head buried between the feet, behind the buttocks or away from the body.[52] This act was seen as a way of hastening the departure of the soul, which in some cultures, was said to linger in the corpse. The vampire's head, body, or clothes could also be spiked and pinned to the earth to prevent rising.[60] Gypsies drove steel or iron needles into a corpse's heart and placed bits of steel in the mouth, over the eyes, ears and between the fingers at the time of burial. They also placed hawthorn in the corpse's sock or drove a hawthorn stake through the legs. In a 16th-century burial near Venice, a brick forced into the mouth of a female corpse has been interpreted as a vampire-slaying ritual by the archaeologists who discovered it in 2006.[61] Further measures included pouring boiling water over the grave or complete incineration of the body. In the Balkans, a vampire could also be killed by being shot or drowned, by repeating the funeral service, by sprinkling holy water on the body, or by exorcism. In Romania, garlic could be placed in the mouth, and as recently as the 19th century, the precaution of shooting a bullet through the coffin was taken. For resistant cases, the body was dismembered and the pieces burned, mixed with water, and administered to family members as a cure. In Saxon regions of Germany, a lemon was placed in the mouth of suspected vampires.[62]
In Bulgaria, over 100 skeletons with metal objects, such as plough bits, embedded in the torso have been discovered.

Ancient beliefs


Lilith (1892), by John Collier
Tales of supernatural beings consuming the blood or flesh of the living have been found in nearly every culture around the world for many centuries.[65] Today, we would associate these entities with vampires, but in ancient times, the term vampire did not exist; blood drinking and similar activities were attributed to demons or spirits who would eat flesh and drink blood; even the Devil was considered synonymous with the vampire.[66] Almost every nation has associated blood drinking with some kind of revenant or demon, or in some cases a deity. In India, for example, tales of vetālas, ghoul-like beings that inhabit corpses, have been compiled in the Baitāl Pacīsī; a prominent story in theKathāsaritsāgara tells of King Vikramāditya and his nightly quests to capture an elusive one.[67] Piśāca, the returned spirits of evil-doers or those who died insane, also bear vampiric attributes.[68] The Persians were one of the first civilizations to have tales of blood-drinking demons: creatures attempting to drink blood from men were depicted on excavated pottery shards.[69] Ancient Babylonia and Assyria had tales of the mythicalLilitu,[70] synonymous with and giving rise to Lilith (Hebrew לילית) and her daughters the Lilu from Hebrew demonology. Lilitu was considered a demon and was often depicted as subsisting on the blood of babies.[70] And Estries, female shape changing, blood drinking demons, were said to roam the night among the population, seeking victims. According to Sefer HasidimEstries were creatures created in the twilight hours before God rested.[71] And injured Estrie could be healed by eating bread and salt given her by her attacker.
Ancient Greek and Roman mythology described the Empusae,[72] the Lamia,[73] and the striges. Over time the first two terms became general words to describe witches and demons respectively. Empusa was the daughter of the goddess Hecate and was described as a demonic, bronze-footed creature. She feasted on blood by transforming into a young woman and seduced men as they slept before drinking their blood.[72] The Lamia preyed on young children in their beds at night, sucking their blood, as did the gelloudes or Gello.[73] Like the Lamia, the striges feasted on children, but also preyed on young men. They were described as having the bodies of crows or birds in general, and were later incorporated into Roman mythology as strix, a kind of nocturnal bird that fed on human flesh and blood.[74]

Christianity

With the arrival of Christianity in Greece, and other parts of Europe, the vampire "began to take on decidedly Christian characteristics."[75] As various regions of the continentconverted to Christianity, the vampire was viewed as "a dead person who retained a semblance of life and could leave its grave-much in the same way that Jesus had risen after his death and burial and appeared before his followers."[75] In the Middle Ages, the Christian Church reinterpreted vampires from their previous folk existence into minions of Satan, and used an allegory to communicate a doctrine to Christians: "Just as a vampire takes a sinner's very spirit into itself by drinking his blood, so also can a righteous Christian by drinking Christ's blood take the divine spirit into himself."[76][77] The interpretation of vampires under the Christian Church established connotations that are still associated in the vampire genre today.[9] For example, the "ability of the cross to hurt and ward off vampires is distinctly due to its Christian association."[10][78]

Medieval and later European folklore

Many of the myths surrounding vampires originated during the medieval period. The 12th-century English historians and chroniclers Walter Map and William of Newburgh recorded accounts of revenants,[31][79] though records in English legends of vampiric beings after this date are scant.[80] The Old Norse draugr is another medieval example of an undead creature with similarities to vampires.[81]
Vampires proper originate in folklore widely reported from Eastern Europe in the late 17th and 18th centuries. These tales formed the basis of the vampire legend that later entered Germany and England, where they were subsequently embellished and popularized. One of the earliest recordings of vampire activity came from the region of Istria in modernCroatia, in 1672.[82] Local reports cited the local vampire Giure Grando of the village Khring near Tinjan as the cause of panic among the villagers.[83] A former peasant, Guire died in 1656; however, local villagers claimed he returned from the dead and began drinking blood from the people and sexually harassing his widow. The village leader ordered a stake to be driven through his heart, but when the method failed to kill him, he was subsequently beheaded with better results.[84]
During the 18th century, there was a frenzy of vampire sightings in Eastern Europe, with frequent stakings and grave diggings to identify and kill the potential revenants; even government officials engaged in the hunting and staking of vampires.[85] Despite being called the Age of Enlightenment, during which most folkloric legends were quelled, the belief in vampires increased dramatically, resulting in a mass hysteria throughout most of Europe.[31] The panic began with an outbreak of alleged vampire attacks in East Prussia in 1721 and in the Habsburg Monarchy from 1725 to 1734, which spread to other localities. Two famous vampire cases, the first to be officially recorded, involved the corpses of Peter Plogojowitz and Arnold Paole from Serbia. Plogojowitz was reported to have died at the age of 62, but allegedly returned after his death asking his son for food. When the son refused, he was found dead the following day. Plogojowitz supposedly returned and attacked some neighbours who died from loss of blood.[85] In the second case, Paole, an ex-soldier turned farmer who allegedly was attacked by a vampire years before, died while haying. After his death, people began to die in the surrounding area and it was widely believed that Paole had returned to prey on the neighbours.[86] Another famous Serbian legend involving vampires concentrates around a certain Sava Savanović living in a watermill and killing and drinking blood from millers. The character was later used in a story written by Serbian writer Milovan Glišić and in the Serbian 1973 horror film Leptirica inspired by the story.
The two incidents were well-documented: government officials examined the bodies, wrote case reports, and published books throughout Europe.[86] The hysteria, commonly referred to as the "18th-Century Vampire Controversy", raged for a generation. The problem was exacerbated by rural epidemics of so-claimed vampire attacks, undoubtedly caused by the higher amount of superstition that was present in village communities, with locals digging up bodies and in some cases, staking them. Although many scholars reported during this period that vampires did not exist, and attributed reports to premature burial or rabiessuperstitious belief increased. Dom Augustine Calmet, a well-respected Frenchtheologian and scholar, put together a comprehensive treatise in 1746, which was ambiguous concerning the existence of vampires. Calmet amassed reports of vampire incidents; numerous readers, including both a critical Voltaire and supportive demonologists, interpreted the treatise as claiming that vampires existed.[87] In his Philosophical Dictionary,Voltaire wrote:[88]
These vampires were corpses, who went out of their graves at night to suck the blood of the living, either at their throats or stomachs, after which they returned to their cemeteries. The persons so sucked waned, grew pale, and fell into consumption; while the sucking corpses grew fat, got rosy, and enjoyed an excellent appetite. It was in Poland, Hungary, SilesiaMoravia, Austria, and Lorraine, that the dead made this good cheer.
The controversy only ceased when Empress Maria Theresa of Austria sent her personal physician, Gerard van Swieten, to investigate the claims of vampiric entities. He concluded that vampires did not exist and the Empress passed laws prohibiting the opening of graves and desecration of bodies, sounding the end of the vampire epidemics. Despite this condemnation, the vampire lived on in artistic works and in local superstition.[87]

Non-European beliefs

Africa

Various regions of Africa have folkloric tales of beings with vampiric abilities: in West Africa the Ashanti people tell of the iron-toothed and tree-dwelling asanbosam,[89] and the Ewe people of the adze, which can take the form of a firefly and hunts children.[90] The eastern Cape region has the impundulu, which can take the form of a large taloned bird and can summon thunder and lightning, and the Betsileo people of Madagascar tell of the ramanga, an outlaw or living vampire who drinks the blood and eats the nail clippings of nobles.[3]

The Americas

The Loogaroo is an example of how a vampire belief can result from a combination of beliefs, here a mixture of French and African Vodu or voodoo. The term Loogaroo possibly comes from the French loup-garou (meaning "werewolf") and is common in the culture of Mauritius. However, the stories of the Loogaroo are widespread through the Caribbean Islands and Louisiana in the United States.[91] Similar female monsters are the Soucouyant of Trinidad, and the Tunda and Patasola of Colombian folklore, while the Mapuche of southern Chile have the bloodsucking snake known as the Peuchen.[92] Aloe vera hung backwards behind or near a door was thought to ward off vampiric beings in South American superstition.[39] Aztec mythology described tales of the Cihuateteo, skeletal-faced spirits of those who died in childbirth who stole children and entered into sexual liaisons with the living, driving them mad.[35]
During the late 18th and 19th centuries the belief in vampires was widespread in parts of New England, particularly in Rhode Island and Eastern Connecticut. There are many documented cases of families disinterring loved ones and removing their hearts in the belief that the deceased was a vampire who was responsible for sickness and death in the family, although the term "vampire" was never actually used to describe the deceased. The deadly disease tuberculosis, or "consumption" as it was known at the time, was believed to be caused by nightly visitations on the part of a dead family member who had died of consumption themselves.[93] The most famous, and most recently recorded, case of suspected vampirism is that of nineteen-year-old Mercy Brown, who died in Exeter, Rhode Island in 1892. Her father, assisted by the family physician, removed her from her tomb two months after her death, cut out her heart and burned it to ashes.[94]

Asia

Rooted in older folklore, the modern belief in vampires spread throughout Asia with tales of ghoulish entities from the mainland, to vampiric beings from the islands of Southeast Asia.
South Asia also developed other vampiric legends. The Bhūta or Prét is the soul of a man who died an untimely death. It wanders around animating dead bodies at night, attacking the living much like a ghoul.[95] In northern India, there is the BrahmarākŞhasa, a vampire-like creature with a head encircled by intestines and a skull from which it drank blood. The figure of the Vetala who appears in South Asian legend and story may sometimes be rendered as "Vampire" (see the section on "Ancient Beliefs" above).
Although vampires have appeared in Japanese cinema since the late 1950s, the folklore behind it is western in origin.[96] However, the Nukekubi is a being whose head and neck detach from its body to fly about seeking human prey at night.[97] There's also the Kitsune who are spiritual vampires that need life force to survive and use magic. As such, they acquire it from making love with humans.

The manananggal of Philippine mythology
Legends of female vampire-like beings who can detach parts of their upper body also occur in the Philippines, Malaysia and Indonesia. There are two main vampire-like creatures in the Philippines: the Tagalog mandurugo ("blood-sucker") and the Visayan manananggal("self-segmenter"). The mandurugo is a variety of the aswang that takes the form of an attractive girl by day, and develops wings and a long, hollow, thread-like tongue by night. The tongue is used to suck up blood from a sleeping victim. The manananggal is described as being an older, beautiful woman capable of severing its upper torso in order to fly into the night with huge bat-like wings and prey on unsuspecting, sleeping pregnant women in their homes. They use an elongated proboscis-like tongue to suck fetuses from these pregnant women. They also prefer to eat entrails (specifically the heart and the liver) and the phlegm of sick people.[98]
The Malaysian Penanggalan may be either a beautiful old or young woman who obtained her beauty through the active use of black magic or other unnatural means, and is most commonly described in local folklore to be dark or demonic in nature. She is able to detach her fanged head which flies around in the night looking for blood, typically from pregnant women.[99] Malaysians would hang jeruju(thistles) around the doors and windows of houses, hoping the Penanggalan would not enter for fear of catching its intestines on the thorns.[100] The Leyak is a similar being from Balinese folklore.[101] A Kuntilanak or Matianak in Indonesia,[102] or Pontianak or Langsuirin Malaysia,[103] is a woman who died during childbirth and became undead, seeking revenge and terrorizing villages. She appeared as an attractive woman with long black hair that covered a hole in the back of her neck, with which she sucked the blood of children. Filling the hole with her hair would drive her off. Corpses had their mouths filled with glass beads, eggs under each armpit, and needles in their palms to prevent them from becoming langsuir. This description would also fit the Sundel Bolongs.[104]
Jiang Shi (simplified Chinese僵尸traditional Chinese僵屍 or 殭屍pinyinjiāngshī; literally "stiff corpse"), sometimes called "Chinese vampires" by Westerners, are reanimated corpses that hop around, killing living creatures to absorb life essence () from their victims. They are said to be created when a person's soul (魄 ) fails to leave the deceased's body.[105] However, some have disputed the comparison of jiang shi with vampires, as jiang shi are usually mindless creatures with no independent thought.[106] One unusual feature of this monster is its greenish-white furry skin, perhaps derived from fungus or mouldgrowing on corpses.[107]

Modern beliefs

In modern fiction, the vampire tends to be depicted as a suave, charismatic villain.[33] Despite the general disbelief in vampiric entities, occasional sightings of vampires are reported. Indeed, vampire hunting societies still exist, although they are largely formed for social reasons.[31] Allegations of vampire attacks swept through the African country of Malawiduring late 2002 and early 2003, with mobs stoning one individual to death and attacking at least four others, including Governor Eric Chiwaya, based on the belief that the government was colluding with vampires.[108]
In early 1970 local press spread rumours that a vampire haunted Highgate Cemetery in London. Amateur vampire hunters flocked in large numbers to the cemetery. Several books have been written about the case, notably by Sean Manchester, a local man who was among the first to suggest the existence of the "Highgate Vampire" and who later claimed to have exorcised and destroyed a whole nest of vampires in the area.[109] In January 2005, rumours circulated that an attacker had bitten a number of people in Birmingham, England, fuelling concerns about a vampire roaming the streets. However, local police stated that no such crime had been reported and that the case appears to be an urban legend.[110]
In 2006, a physics professor at the University of Central Florida wrote a paper arguing that it is mathematically impossible for vampires to exist, based on geometric progression. According to the paper, if the first vampire had appeared on 1 January 1600, and it fed once a month (which is less often than what is depicted in films and folklore), and every victim turned into a vampire, then within two and a half years the entire human population of the time would have become vampires.[111] The paper made no attempt to address the credibility of the assumption that every vampire victim would turn into a vampire.
In one of the more notable cases of vampiric entities in the modern age, the chupacabra ("goat-sucker") of Puerto Rico and Mexico is said to be a creature that feeds upon the flesh or drinks the blood of domesticated animals, leading some to consider it a kind of vampire. The "chupacabra hysteria" was frequently associated with deep economic and political crises, particularly during the mid-1990s.[112]
In Europe, where much of the vampire folklore originates, the vampire is usually considered a fictitious being, although many communities may have embraced the revenant for economic purposes. In some cases, especially in small localities, vampire superstition is still rampant and sightings or claims of vampire attacks occur frequently. In Romaniaduring February 2004, several relatives of Toma Petre feared that he had become a vampire. They dug up his corpse, tore out his heart, burned it, and mixed the ashes with water in order to drink it.[113]
Vampirism and the Vampire lifestyle also represent a relevant part of modern day's occultist movements. The mythos of the vampire, his magickal qualities, allure, and predatory archetype express a strong symbolism that can be used in ritual, energy work, and magick, and can even be adopted as a spiritual system.[114] The vampire has been part of the occult society in Europe for centuries and has spread into the American sub-culture as well for more than a decade, being strongly influenced by and mixed with the neo gothicaesthetics.[115]

Collective noun

'Coven' has been used as a collective noun for vampires, possibly based on the Wiccan usage. An alternative collective noun is a 'house' of vampires.[116] David Malki, author ofWondermark, suggests in Wondermark No. 566 the use of the collective noun 'basement', as in "A basement of vampires."[117]

Origins of vampire beliefs


Le Vampire, lithograph by R. de Moraine in Féval (1851–1852)
Commentators have offered many theories for the origins of vampire beliefs, trying to explain the superstition – and sometimes mass hysteria – caused by vampires. Everything ranging from premature burial to the early ignorance of the body's decomposition cycle after death has been cited as the cause for the belief in vampires.

Slavic spiritualism

Although many cultures possess revenant superstitions comparable to the Eastern European vampire, the Slavic vampire is the revenant superstition that pervades popular culture's concept of vampires. The roots of vampire belief in Slavic culture largely originate in the spiritual beliefs and practices of pre-Christianized Slavic peoples and in their understanding of life after death. Despite a lack of pre-Christian Slavic writings describing the details of the "Old Religion", Slavic peoples sustained many pagan spiritual beliefs and rituals even after the official Christianization of their societies. Examples of such beliefs and practices include ancestor worshiphousehold spirits, and beliefs about the soul after death. The origins of vampire beliefs in Slavic regions can be traced to the complex structure of Slavic spiritualism.
Demons and spirits served important functions in pre-industrial Slavic societies and were considered to be very interactive in the lives and domains of humans. Some spirits were benevolent and could be helpful in human tasks, others were harmful and often destructive. Examples of such spirits are DomovoiRusalkaVilaKikimoraPoludnitsa, and Vodyanoy. These spirits were also considered to be derived from ancestors or certain deceased humans. Such spirits could appear at will in various forms including that of different animals or human form. Some of these spirits could also participate in malevolent activity to harm humans, such as drowning humans, obstructing the harvest, or sucking the blood of livestock and sometimes humans. Hence, the Slavs were obliged to appease these spirits to prevent the spirits from their potential for erratic and destructive behaviour.[118]
Common Slavic belief indicates a stark distinction between soul and body. The soul is not considered to be perishable. The Slavs believed that upon death the soul would go out of the body and wander about its neighbourhood and workplace for 40 days before moving on to an eternal afterlife.[118] Thus pagan Slavs considered it necessary to leave a window or door open in the house for the soul to pass through at its leisure. During this time the soul was believed to have the capability of re-entering the corpse of the deceased. Much like the spirits mentioned earlier, the passing soul could either bless or wreak havoc on its family and neighbours during its 40 days of passing. Upon an individual's death, much stress was placed on proper burial rites to ensure the soul's purity and peace as it separated from the body. The death of an unbaptized child, a violent or an untimely death, or the death of a grievous sinner (such as a sorcerer or murderer) were all grounds for a soul to become unclean after death. A soul could also be made unclean if its body were not given a proper burial. Alternatively, a body not given a proper burial could be susceptible to possession by other unclean souls and spirits. Slavs feared unclean souls because of their potential for taking vengeance.[119]
From these deep beliefs pertaining to death and the soul derives the invention of the Slavic concept of vampir. A vampire is the manifestation of an unclean spirit possessing a decomposing body. This undead creature needs the blood of the living to sustain it's body's existence and is considered to be vengeful and jealous towards the living.[120] Although this concept of vampire exists in slightly different forms throughout Slavic countries and some of their non-Slavic neighbours, it is possible to trace the development of vampire belief to Slavic spiritualism preceding Christianity in Slavic regions.

Pathology

Decomposition

Paul Barber in his book Vampires, Burial and Death has described that belief in vampires resulted from people of pre-industrial societies attempting to explain the natural, but to them inexplicable, process of death and decomposition.[121]
People sometimes suspected vampirism when a cadaver did not look as they thought a normal corpse should when disinterred. However, rates of decomposition vary depending on temperature and soil composition, and many of the signs are little known. This has led vampire hunters to mistakenly conclude that a dead body had not decomposed at all, or, ironically, to interpret signs of decomposition as signs of continued life.[122] Corpses swell as gases from decomposition accumulate in the torso and the increased pressure forces blood to ooze from the nose and mouth. This causes the body to look "plump," "well-fed," and "ruddy"—changes that are all the more striking if the person was pale or thin in life. In the Arnold Paole case, an old woman's exhumed corpse was judged by her neighbours to look more plump and healthy than she had ever looked in life.[123] The exuding blood gave the impression that the corpse had recently been engaging in vampiric activity.[44] Darkening of the skin is also caused by decomposition.[124] The staking of a swollen, decomposing body could cause the body to bleed and force the accumulated gases to escape the body. This could produce a groan-like sound when the gases moved past the vocal cords, or a sound reminiscent of flatulence when they passed through the anus. The official reporting on the Peter Plogojowitz case speaks of "other wild signs which I pass by out of high respect".[125]
After death, the skin and gums lose fluids and contract, exposing the roots of the hair, nails, and teeth, even teeth that were concealed in the jaw. This can produce the illusion that the hair, nails, and teeth have grown. At a certain stage, the nails fall off and the skin peels away, as reported in the Plogojowitz case—the dermis and nail beds emerging underneath were interpreted as "new skin" and "new nails".[125]

Premature burial

It has also been hypothesized that vampire legends were influenced by individuals being buried alive because of shortcomings in the medical knowledge of the time. In some cases in which people reported sounds emanating from a specific coffin, it was later dug up and fingernail marks were discovered on the inside from the victim trying to escape. In other cases the person would hit their heads, noses or faces and it would appear that they had been "feeding."[126] A problem with this theory is the question of how people presumably buried alive managed to stay alive for any extended period without food, water or fresh air. An alternate explanation for noise is the bubbling of escaping gases from natural decomposition of bodies.[127] Another likely cause of disordered tombs is grave robbing.[128]

Contagion

Folkloric vampirism has been associated with clusters of deaths from unidentifiable or mysterious illnesses, usually within the same family or the same small community.[93] The epidemic allusion is obvious in the classical cases of Peter Plogojowitz and Arnold Paole, and even more so in the case of Mercy Brown and in the vampire beliefs of New England generally, where a specific disease, tuberculosis, was associated with outbreaks of vampirism. As with the pneumonic form of bubonic plague, it was associated with breakdown of lung tissue which would cause blood to appear at the lips.[129]

Porphyria

In 1985 biochemist David Dolphin proposed a link between the rare blood disorder porphyria and vampire folklore. Noting that the condition is treated by intravenous haem, he suggested that the consumption of large amounts of blood may result in haem being transported somehow across the stomach wall and into the bloodstream. Thus vampires were merely sufferers of porphyria seeking to replace haem and alleviate their symptoms.[130] The theory has been rebuffed medically as suggestions that porphyria sufferers crave the haem in human blood, or that the consumption of blood might ease the symptoms of porphyria, are based on a misunderstanding of the disease. Furthermore, Dolphin was noted to have confused fictional (bloodsucking) vampires with those of folklore, many of whom were not noted to drink blood.[131] Similarly, a parallel is made between sensitivity to sunlight by sufferers, yet this was associated with fictional and not folkloric vampires. In any case, Dolphin did not go on to publish his work more widely.[132] Despite being dismissed by experts, the link gained media attention[133] and entered popular modern folklore.[134]

Rabies

Rabies has been linked with vampire folklore. Dr Juan Gómez-Alonso, a neurologist at Xeral Hospital in Vigo, Spain, examined this possibility in a report in Neurology. The susceptibility to garlic and light could be due to hypersensitivity, which is a symptom of rabies. The disease can also affect portions of the brain that could lead to disturbance of normal sleep patterns (thus becoming nocturnal) and hypersexuality. Legend once said a man was not rabid if he could look at his own reflection (an allusion to the legend that vampires have no reflection). Wolves and bats, which are often associated with vampires, can be carriers of rabies. The disease can also lead to a drive to bite others and to a bloody frothing at the mouth.[135][136]

Psychodynamic understanding

In his 1931 treatise On the NightmareWelsh psychoanalyst Ernest Jones noted that vampires are symbolic of several unconscious drives and defence mechanisms. Emotions such as love, guilt, and hate fuel the idea of the return of the dead to the grave. Desiring a reunion with loved ones, mourners may project the idea that the recently dead must in return yearn the same. From this arises the belief that folkloric vampires and revenants visit relatives, particularly their spouses, first.[137] In cases where there was unconscious guilt associated with the relationship, however, the wish for reunion may be subverted by anxiety. This may lead to repression, which Sigmund Freud had linked with the development of morbid dread.[138] Jones surmised in this case the original wish of a (sexual) reunion may be drastically changed: desire is replaced by fear; love is replaced by sadism, and the object or loved one is replaced by an unknown entity. The sexual aspect may or may not be present.[139] Some modern critics have proposed a simpler theory: People identify with immortal vampires because, by so doing, they overcome, or at least temporarily escape from, their fear of dying.[140]
The innate sexuality of bloodsucking can be seen in its intrinsic connection with cannibalism and folkloric one with incubus-like behaviour. Many legends report various beings draining other fluids from victims, an unconscious association with semen being obvious. Finally Jones notes that when more normal aspects of sexuality are repressed, regressed forms may be expressed, in particular sadism; he felt that oral sadism is integral in vampiric behaviour.[141]

Political interpretation

The reinvention of the vampire myth in the modern era is not without political overtones.[142] The aristocratic Count Dracula, alone in his castle apart from a few demented retainers, appearing only at night to feed on his peasantry, is symbolic of the parasitic Ancien regime. In his entry for "Vampires" in the Dictionnaire philosophique (1764), Voltaire notices how the end of the 18th century coincided with the decline of the folkloric belief in the existence of vampires but that now "there were stock-jobbers, brokers, and men of business, who sucked the blood of the people in broad daylight; but they were not dead, though corrupted. These true suckers lived not in cemeteries, but in very agreeable palaces".[143] Marx similarly famously defined capital as "dead labour which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks".[144] In Das Kapital Marx repeatedly refers to capital as a vampire, because of its monstrous metabolism: according to the German philosopher and revolutionary, in fact, capital is capable at once to suck living labour out of the workers and to transform them in an integral part of itself (variable capital).[145] Werner Herzog, in his Nosferatu the Vampyre, gives this political interpretation an extra ironic twist when protagonist Jonathon Harker, a middle-class solicitor, becomes the next vampire; in this way the capitalist bourgeois becomes the next parasitic class.[146]

Psychopathology

A number of murderers have performed seemingly vampiric rituals upon their victims. Serial killers Peter Kürten and Richard Trenton Chase were both called "vampires" in thetabloids after they were discovered drinking the blood of the people they murdered. Similarly, in 1932, an unsolved murder case in Stockholm, Sweden was nicknamed the "Vampire murder", because of the circumstances of the victim's death.[147] The late-16th-century Hungarian countess and mass murderer Elizabeth Báthory became particularly infamous in later centuries' works, which depicted her bathing in her victims' blood in order to retain beauty or youth.[148]

Modern vampire subcultures

Vampire lifestyle is a term for a contemporary subculture of people, largely within the Goth subculture, who consume the blood of others as a pastime; drawing from the rich recent history of popular culture related to cult symbolism, horror films, the fiction of Anne Rice, and the styles of Victorian England.[149] Active vampirism within the vampire subculture includes both blood-related vampirism, commonly referred to as sanguine vampirism, and psychic vampirism, or supposed feeding from pranic energy.[150]

Vampire bats


vampire bat in Peru
Although many cultures have stories about them, vampire bats have only recently become an integral part of the traditional vampire lore. Indeed, vampire bats were only integrated into vampire folklore when they were discovered on the South American mainland in the 16th century.[151] Although there are no vampire bats in Europe, bats and owls have long been associated with the supernatural and omens, although mainly because of their nocturnal habits,[151][152] and in modern English heraldic tradition, a bat means "Awareness of the powers of darkness and chaos".[153]
The three species of actual vampire bats are all endemic to Latin America, and there is no evidence to suggest that they had any Old World relatives within human memory. It is therefore impossible that the folkloric vampire represents a distorted presentation or memory of the vampire bat. The bats were named after the folkloric vampire rather than vice versa; the Oxford English Dictionary records their folkloric use in English from 1734 and the zoological not until 1774. Although the vampire bat's bite is usually not harmful to a person, the bat has been known to actively feed on humans and large prey such as cattle and often leave the trademark, two-prong bite mark on its victim's skin.[151]
The literary Dracula transforms into a bat several times in the novel, and vampire bats themselves are mentioned twice in it. The 1927 stage production of Dracula followed the novel in having Dracula turn into a bat, as did the film, where Béla Lugosi would transform into a bat.[151] The bat transformation scene would again be used by Lon Chaney Jr. in 1943's Son of Dracula.[154]

In modern fiction


Count Dracula as portrayed by Béla Lugosi in 1931's Dracula
The vampire is now a fixture in popular fiction. Such fiction began with 18th-century poetry and continued with 19th-century short stories, the first and most influential of which was John Polidori's The Vampyre (1819), featuring the vampire Lord Ruthven. Lord Ruthven's exploits were further explored in a series of vampire plays in which he was the anti-hero. The vampire theme continued in penny dreadful serial publications such as Varney the Vampire (1847) and culminated in the pre-eminent vampire novel of all time: Dracula by Bram Stoker, published in 1897.[155] Over time, some attributes now regarded as integral became incorporated into the vampire's profile: fangs and vulnerability to sunlight appeared over the course of the 19th century, with Varney the Vampire and Count Dracula both bearing protruding teeth,[156] and Murnau's Nosferatu (1922) fearing daylight.[157] The cloak appeared in stage productions of the 1920s, with a high collar introduced by playwright Hamilton Deane to help Dracula 'vanish' on stage.[158] Lord Ruthven and Varney were able to be healed by moonlight, although no account of this is known in traditional folklore.[159] Implied though not often explicitly documented in folklore,immortality is one attribute which features heavily in vampire film and literature. Much is made of the price of eternal life, namely the incessant need for blood of former equals.[160]

Literature


"Carmilla" by D. H. Friston, 1872, fromThe Dark Blue
The vampire or revenant first appeared in poems such as The Vampire (1748) by Heinrich August OssenfelderLenore (1773) by Gottfried August BürgerDie Braut von Corinth (The Bride of Corinth (1797) by Johann Wolfgang von GoetheRobert Southey's Thalaba the Destroyer (1801), John Stagg's "The Vampyre" (1810), Percy Bysshe Shelley's "The Spectral Horseman" (1810) ("Nor a yelling vampire reeking with gore") and "Ballad" in St. Irvyne (1811) about a reanimated corpse, Sister Rosa, Samuel Taylor Coleridge's unfinishedChristabel and Lord Byron's The Giaour.[161] Byron was also credited with the first prose fiction piece concerned with vampires: The Vampyre (1819). However this was in reality authored by Byron's personal physician, John Polidori, who adapted an enigmatic fragmentary tale of his illustrious patient, "Fragment of a Novel" (1819), also known as "The Burial: A Fragment".[31][155] Byron's own dominating personality, mediated by his lover Lady Caroline Lamb in her unflattering roman-a-clefGlenarvon (a Gothic fantasia based on Byron's wild life), was used as a model for Polidori's undead protagonist Lord RuthvenThe Vampyre was highly successful and the most influential vampire work of the early 19th century.[11]
Varney the Vampire was a landmark popular mid-Victorian era gothic horror story by James Malcolm Rymer (alternatively attributed toThomas Preskett Prest), which first appeared from 1845 to 1847 in a series of pamphlets generally referred to as penny dreadfulsbecause of their inexpensive price and typically gruesome contents. The story was published in book form in 1847 and runs to 868 double-columned pages. It has a distinctly suspenseful style, using vivid imagery to describe the horrifying exploits of Varney.[159] Another important addition to the genre was Sheridan Le Fanu's lesbian vampire storyCarmilla (1871). Like Varney before her, the vampire Carmilla is portrayed in a somewhat sympathetic light as the compulsion of her condition is highlighted.[162]
No effort to depict vampires in popular fiction was as influential or as definitive as Bram Stoker's Dracula (1897).[163] Its portrayal of vampirism as a disease of contagious demonic possession, with its undertones of sex, blood and death, struck a chord in Victorian Europe where tuberculosis and syphilis were common. The vampiric traits described in Stoker's work merged with and dominated folkloric tradition, eventually evolving into the modern fictional vampire. Drawing on past works such as The Vampyre and "Carmilla", Stoker began to research his new book in the late 19th century, reading works such as The Land Beyond the Forest (1888) by Emily Gerard and other books about Transylvania and vampires. In London, a colleague mentioned to him the story of Vlad Ţepeş, the "real-life Dracula," and Stoker immediately incorporated this story into his book. The first chapter of the book was omitted when it was published in 1897, but it was released in 1914 as Dracula's Guest.[164]
The 21st century has brought more examples of vampire fiction, such as J.R. Ward's Black Dagger Brotherhood series, and other highly popular vampire books which appeal to teenagers and young adults. Such vampiric paranormal romance novels and allied vampiric chick-lit and vampiric occult detective stories are a remarkably popular and ever-expanding contemporary publishing phenomenon.[165] L.A. Banks' The Vampire Huntress Legend SeriesLaurell K. Hamilton's erotic Anita Blake: Vampire Hunter series, and Kim Harrison's The Hollows series, portray the vampire in a variety of new perspectives, some of them unrelated to the original legends.
The latter part of the 20th century saw the rise of multi-volume vampire epics. The first of these was Gothic romance writer Marilyn Ross' Barnabas Collins series (1966–71), loosely based on the contemporary American TV series Dark Shadows. It also set the trend for seeing vampires as poetic tragic heroes rather than as the more traditional embodiment of evil. This formula was followed in novelist Anne Rice's highly popular and influential Vampire Chronicles (1976–2003).[166] Vampires in the Twilight series (2005–2008) by Stephenie Meyer ignore the effects of garlic and crosses, and are not harmed by sunlight (although it does reveal their supernatural nature).[167] Richelle Mead further deviates from traditional vampires in her Vampire Academy series (2007–present), basing the novels on Romanian lore with two races of vampires, one good and one evil, as well as half-vampires.[168]

Film and television


Iconic scene from F. W. Murnau'sNosferatu, 1922
Considered one of the preeminent figures of the classic horror film, the vampire has proven to be a rich subject for the film and gaming industries. Dracula is a major character in more films than any other but Sherlock Holmes, and many early films were either based on the novel of Dracula or closely derived from it. These included the landmark 1922 German silent film Nosferatu, directed by F. W. Murnau and featuring the first film portrayal of Dracula—although names and characters were intended to mimic Dracula's, Murnau could not obtain permission to do so from Stoker's widow, and had to alter many aspects of the film. In addition to this film was Universal's Dracula (1931), starring Béla Lugosi as the Count in what was the first talking film to portray Dracula. The decade saw several more vampire films, most notably Dracula's Daughter in 1936.[169]
The legend of the vampire was cemented in the film industry when Dracula was reincarnated for a new generation with the celebratedHammer Horror series of films, starring Christopher Lee as the Count. The successful 1958 Dracula starring Lee was followed by seven sequels. Lee returned as Dracula in all but two of these and became well known in the role.[170] By the 1970s, vampires in films had diversified with works such as Count Yorga, Vampire (1970), an African Count in 1972's Blacula, the BBC's Count Dracula featuring French actor Louis Jourdan as Dracula and Frank Finlay as Abraham Van Helsing, and a Nosferatu-like vampire in 1979's Salem's Lot, and a remake of Nosferatu itself, titled Nosferatu the Vampyre with Klaus Kinski the same year. Several films featured female, often lesbian, vampire antagonists such as Hammer Horror's The Vampire Lovers (1970) based on Carmilla, though the plotlines still revolved around a central evil vampire character.[170]
The pilot for the Dan Curtis 1972 television series Kolchak: The Night Stalker revolved around reporter Carl Kolchak hunting a vampire on the Las Vegas strip. Later films showed more diversity in plotline, with some focusing on the vampire-hunter, such as Blade in the Marvel ComicsBlade films and the film Buffy the Vampire SlayerBuffy, released in 1992, foreshadowed a vampiric presence on television, with adaptation to a long-running hit TV series of the same name and its spin-off Angel. Still others showed the vampire as protagonist, such as 1983's The Hunger, 1994's Interview with the Vampire: The Vampire Chronicles and its indirect sequel of sorts Queen of the Damned, and the 2007 seriesMoonlightBram Stoker's Dracula was a noteworthy 1992 film which became the then-highest grossing vampire film ever.[171] This increase of interest in vampiric plotlines led to the vampire being depicted in films such as Underworld and Van Helsing, and the Russian Night Watch and a TV miniseries remake of 'Salem's Lot, both from 2004. The series Blood Ties premiered on Lifetime Television in 2007, featuring a character portrayed as Henry Fitzroy, illegitimate son of Henry VIII of England turned vampire, in modern-day Toronto, with a female former Toronto detective in the starring role. A 2008 series from HBO, entitled True Blood, gives a Southern take to the vampire theme.[167] Another popular vampire-related show is CW's The Vampire Diaries. The continuing popularity of the vampire theme has been ascribed to a combination of two factors: the representation of sexuality and the perennial dread of mortality.[172] Another "vampiric" series that has recently come out is the Twilight Saga, a series of films based on the book series of the same name.

Games

The role-playing game Vampire: the Masquerade has been influential upon modern vampire fiction and elements of its terminology, such as embrace and sire, have become widely used. Popular video games about vampires include Castlevania, which is an extension of the original Bram Stoker Dracula novel, and Legacy of Kain.[173] Vampires are also sporadically portrayed in other games, including The Elder Scrolls IV: Oblivion, when a character can become afflicted with porphyric haemophilia.[174] A different take on vampires is presented in Bethesda's other game Fallout 3 with "The Family". Members of the Family are afflicted with a manic desire to consume human flesh, but restrict themselves to drinking blood to avoid becoming complete monsters.