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These people blocked me on both Twitter and Tumblr, and then someone used a burner account to go off on me on Twitter. This person insisted that I was singlehandedly responsible for the project falling.
the new dracula daily entry with the brides manifesting as moonlit dust taking human form to again try to eat jonathan makes me curious if more vampires used to do misty transformations before the dracula ones
then, the scene that follows with dracula summoning animals to do his bidding, which is i think unique to him
and then dracula being "dead" the morning after scene, when the dawn is emphasized as almost sacred and jonathan finds dracula sleeping after imitating his climbing movements. the vampire falling asleep after the dawn is as old as vampire folklore, but i suspect stories of them being revealed in their tombs is not after the protagonist had risked their lives to discover them
As far as I'm aware, Dracula is the first vampire story to feature vampires turning into mist/dust.
I can't recall any other stories where the vampire has command over animals, either, although a few feature dogs or wolves being repelled by vampires. Dogs bark at Carmilla and at Geraldine in Christabel; in The Family of the Vourdalak, one of the family dogs barks at Gorcha and he makes them shoot it. It's implied that the dog barked at Gorcha because it could smell that he was dead. In La Guzla, crows avoid the vampire's corpse, while in the ballad in The Pale Lady which takes inspiration from the former, wolves and vultures flee from him. Wolves also flee from the vampire in The Mysterious Stranger (which, disclaimer, I have not read yet).
While I'm talking about dogs, I think the howling of dogs breaking someone out of a vampiric trance is unique to Stoker; protagonists in other stories tend to be aided by the power of God (Marquis d'Urfe in The Family of the Vourdalak is snapped out of his trance by the cross necklace he wears digging into his flesh, while Hedwig is protected from Kostaki's trance by a blessed palm frond dipped in holy water). Jonathan being helped by the dogs parallels another Stoker work, the short story "The Judge's House", in which the protagonist is aided by the rats living in the titular house, which attempt to ring a bell in the house in order to signal for help. It's an adorable recurring motif.
The passage about the dawn makes me think of this one from Varney the Vampire:
What wonderfully different impressions and feelings, with regard to the same circumstances, come across the mind in the broad, clear, and beautiful light of day to what haunt the imagination, and often render the judgment almost incapable of action, when the heavy shadow of night is upon all things.
There must be a downright physical reason for this effect—it is so remarkable and so universal. It seems that the sun’s rays so completely alter and modify the constitution of the atmosphere, that it produces, as we inhale it, a wonderfully different effect upon the nerves of the human subject.
Rymer being Rymer, he naturally has to insist that this is a physical, scientific phenomenon.
Vampires being discovered asleep in their tombs is actually fairly common, although generally the process of discovery is not quite so perilous as Jonathan's. Sometimes (as with Sigismund, Clarimonde, Clara Crofton, and Har (in "Manor")), the location of the vampire's grave is a known fact. Other times (Carmilla and After Ninety Years), discovering where the vampire is buried is a whole process. Generally, the vampire is defenseless in the daytime; Dracula's hate-filled gaze that (spoilers for Dracula Daily) causes Jonathan to fumble his shovel swing is something of an innovation. The closest we see to this in another vampire story is Kostaki in The Pale Lady, although this instance technically occurs before he rises as a vampire:
The corpse’s eyes opened and stared at me, more alive than I had ever seen them, and, as if the two rays they emitted had been palpable, I felt what seemed like two red-hot irons plunging into my heart.
It's not the only instance of an evil-eye type power in a vampire work prior to Dracula, but it's the only one (that I know of) that occurs while the vampire is dead/asleep.
...No, wait, I tell a lie. It's in Varney, sort of.
"The deed was done; there was sufficient light for us to look upon the features of the dying man. Ghastly and terrific they glared upon us; while the glazed eyes, as they were upturned to the bright sky, seemed appealing to Heaven for vengeance against us, for having done the deed.
"Many a day and many an hour since at all times and all seasons, I have seen those eyes, with the glaze of death upon them, following me, and gloating over the misery they had the power to make. I think I see them now."
"Indeed!"
"Yes; look—look—see how they glare upon me—with what a fixed and frightful stare the bloodshot pupils keep their place—there, there! oh! save me from such a visitation again. It is too horrible. I dare not—I cannot endure it; and yet why do you gaze at me with such an aspect, dread visitant? You know that it was not my hand that did the deed—who laid you low. You know that not to me are you able to lay the heavy charge of your death!"
I say "sort of" because the speaker here is Varney himself, and the dead man he speaks of is never explicitly confirmed to be a vampire; the story seems like it's kind of going that direction, but changes course at the last second, retcons Varney being a vampire altogether (yes, it's that part), and forgets all about this guy. Also, it's not clear this is intended to be a supernatural effect; it may simply be a product of Varney's trauma and guilt.
I think the association between vampires and wolves is folkloric. It is often hard to differentiate between vampires and werewolves in a lot of the lore from eastern European cultures. It's not always clear if vampires can turn into wolves or attract them or have some other association with them. They are said to lurk near vampire graves in some tales.
I suspect Stoker came across things like this in his reasearch and that's where he gets Dracula commanding wolves from.
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a funny thing about having a Problematic Blorbo is that you'll periodically come across a post along the lines of "um let's not forget that [Blorbo] is a bad person..." listing their various crimes, and if you have a modicum of intellectual honesty you find yourself nodding along and saying yeah it's true... but it's the greyness of their character that makes them so compelling... At the same time though you have a little Saul Goodman in your ear going "your honor in their defense: who cares like omfgggg who caresssssss like come onnnnnn"
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From the Nashville Zoo’s fb page! Here’s the petition, please please please take a moment to add your name (even if you’re not from Nashville!). If you are from Tennessee, contact your representatives and make it clear that the people do not want this data center. This is an AZA accredited zoo which is home to several species of critically endangered animals, we NEED to protect it. Make your voice heard!
Fragment by Byron really is more readable than the Vampyre (ok not a feat, but...), more somber and ritualistic, Darvell is already fascinating, and it's just the prologue of an unfinished bigger story.
https://readerslibrary.org/wp-content/uploads/Fragment-of-a-Novel.pdf
From a reviewer of this who you will agree with:
Included is Lord Byron’s “Fragment of the Novel,” which is haunting and evocative. (You may have heard that Byron is a pretty good writer.) “Fragment” was only released to demonstrate that Byron had not written John William Polidori’s “The Vampyre,” which is not nearly so haunting nor evocative. Its final line, “Lord Ruthven had disappeared, and Aubrey’s sister had glutted the thirst of a Vampyre!” makes this 21st century reviewer wonder how anyone could have thought this Byron’s work.
Huh. It's definitely more readable; Byron can actually make the interminable-sentences-strung-together-by-semicolons work, whereas Polidori just seems to be rationing periods. The prose is more evocative, mostly because it's actually comprehensible.
In terms of plot I think it's not really fair to compare the two; the unfinished nature of this one gives it an advantage, I think, in that your imagination is allowed to run wild with the directions it could take. I know mine certainly is.
My knee-jerk impression is that this one feels gayer, though that might be partially due to the first-person POV. I want to read Darvell's line with the stork and the snake as a threat directed at the POV character, rather than some conveniently appearing sister or girlfriend of his, but I have no way to prove the story would've gone in that direction. I'm intrigued by the amount of ritual surrounding Darvell's death and (presumed) resurrection; it makes me wonder what the literary vampire would look like in a universe where a finished version of this took off, rather than Polidori's slop.
The 21st century reviewer has left out the hackiest part of Polidori's ending: the formatting. In the Project Gutenberg edition of The Vampyre, the final word "Vampyre" appears in all caps.
shout out to Mina Murray and Lucy for making friends with an almost hundred-year-old Mr Swales and his buddies, who only talk shit about the liars in the graves they’re currently having picnics on.
Hear that? 6 o’clock. Mr Swale your grand-daughter wants you home for tea.
It's funny how every reimagining or interpretation out there about Jonathan Harker is that he has traits his wife would clearly dislike, and that those are that he's stuffy and passionless.
Meanwhile he's described as having and emitting passion more times than any other character in the book (most of the time by Jack and once by Mina):
"[Jonathan's] face of white set passion"
"as though the passion in him were shrivelling his being to its core"
"the tender passion of her husband’s voice"
"my Jonathan’s [voice], raised in a high key of passion"
Note: The only other character who has the word "passion" or "passionate" used for them almost as consistently is Renfield. Followed by Dracula.
Huh. Jonathan, who to Dracula daily readers is unambiguously the hero, is described as passionate in company with Renfield, the madman, and Dracula, the villain.
To a Victorian, and to mainstream English culture post-Victoria, passion is problematic at best and a huge personal failing at worst. It is excess, a code word for unbridled sexuality, wrath, and destructive levels of emotion. Welshmen and Frenchmen and Italians and natives of all stripes are passionate; Englishmen have stiff upper lips, don’t let the side down, and always play the game.
I am not someone who can puzzle out the road here, from (Anglo-Irish) Stoker to the Victorian public to the American film industry with a side of Bela Lugosi, but that it is a road leading to the transformation of all three characters from their canon selves to their pop culture funhouse mirror images, I am convinced. Jonathan and his heroic mix of supposedly gendered traits, so distressingly unEnglish an Englishman, rendered into a staid and sexless exemplar of his nation; Renfield the life hungry, death dealing madman who first invites Death in and later gives his life trying to slay it, rendered into a sycophantic ghoul fawning at Death’s heels; and Dracula, the towering egotistical abusive monster who likes to play with his food but can’t get into his victims’ heads well enough to adapt his strategy to changing conditions rendered into the dangerously attractive anti-hero - they didn’t fit into existing tropes comfortably enough for Hollywood, and so were mutilated to fit available boxes.
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the. pepper, she sings to me at night.... I can't.... 41mg caffine.... but I always fall for her... FUCK!!!!!and wait wait and then!!! what I don't fall for? for asleep. I don't fall asleep. because 41mg caffine
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