Dracula’s Brethren. Richard Dalby

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СКАЧАТЬ ‘X. L.’ (pseudonym of Julian Osgood Field). First published in 1893, it is based on the curious legend of the Children of Judas, the substance of which is that the lineal descendants of the arch-traitor are prowling about the world intent on doing harm to anyone who offends them. Luring their victims into their clutches by any means necessary, they kill them with one bite or kiss, which is so deadly it drains the blood from their bodies, leaving a wound on the flesh like three X’s, signifying the thirty pieces of silver paid to Christ’s betrayer. Another offbeat story is Count Eric Stenbock’s ‘The True Story of a Vampire,’ which comes from his 1894 collection Studies of Death. Count Vardalek, whose activities this story chronicles, is a male version of Le Fanu’s Carmilla, but whereas she was homoerotically attracted to another woman, Vardalek has similar feelings about a young boy.

      ‘The Priest and His Cook’ and ‘The Story of Jella and the Macic’ are two folkloric tales that have recently been extracted from The Pobratim, an 1895 novel by Professor P. Jones. The former appeared for the first time in Vintage Vampire Stories, and the latter makes its debut in the present volume. Two better-known stories from the 1890s that have turned up in vampire anthologies on more than one occasion are ‘Let Loose’ (1890), by Mary Cholmondeley, and ‘The Death of Halpin Frayser’ (1891), by Ambrose Bierce. Both are difficult to classify, but a case for including them in the vampire canon can be made if one views them as stories about the dead returning to wreak vengeance on the living, using methods akin to vampirism. There are, however, no such doubts about the eligibility of H. B. Marriott Watson’s ‘The Stone Chamber’ (1898) to be categorised as a vampire story. Set in rural England, it tells how guests staying at Marvyn Abbey awake in the morning feeling exhausted and have red marks on their necks, a tell-tale sign that they have been preyed upon by a vampire.

      Stories about vampires of the non-human kind were also popular during the final decade of the nineteenth century. For instance, in H. G. Wells’ ‘The Flowering of the Strange Orchid’ (1894), a collector of exotic plants is attacked by a bloodsucking orchid growing in his hothouse; while in Fred M. White’s ‘The Purple Terror’ (1899) a group of explorers are menaced by vampire-vines in the Cuban jungle. Even more loathsome is the vampire-like monstrosity in Erckmann-Chatrian’s ‘The Crab Spider’ (1893), in which animals and people who enter a cave at a German health resort are attacked and have their bodies drained of blood by a giant arachnid. In another fascinating story, Sidney Bertram’s ‘With the Vampires’ (1899), explorers journeying up the Amazon encounter cave-dwelling vampire bats. The same geographical location is also the setting for Phil Robinson’s ‘The Last of the Vampires’ (1893), in which a German trader comes across a huge vampire-pterodactyl, to which human sacrifices are made.

      A psychic detective whose cases sometimes involved vampire-like phenomena is Flaxman Low, who appeared in a series of allegedly real ghost stories in Pearson’s Magazine between 1898 and 1899 under the byline of E. & H. Heron, a pseudonym used by the mother-and-son writing team Kate and Hesketh Prichard. In ‘The Story of Baelbrow,’ for instance, Low investigates mysterious deaths at a reputedly haunted house, and discovers that a previously ineffectual spirit-vampire has become a deadly killer by activating an Egyptian mummy in his client’s private museum. In another exploit, ‘The Story of the Moor Road,’ a malevolent elemental becomes palpable after absorbing an invalid’s vitality; and, in ‘The Story of the Grey House,’ guests staying at a secluded country house are strangled and drained of blood by a demoniacal creeper growing in the shrubbery.

      The 1890s was also a productive decade for vampire novels, but apart from a select few most are forgotten today. Towering above them all is Bram Stoker’s Dracula, which, since its launch in 1897, has gone on to sell millions of copies around the world and is undoubtedly the most influential vampire novel ever written. Surviving changes in fashion and numerous indignities at the hands of clumsy editors, it has, over time, earned itself a unique place in the vampire canon, and has deservedly achieved the status of a classic of English literature. The enduring appeal of this novel is primarily due to its sensational plot and Stoker’s spellbinding narrative power, but it is also noteworthy for two other reasons. Firstly, it has systemised the rules of literary and cinematic vampirology for all time, and secondly we have in Count Dracula the definitive incarnation of the human bloodsucker.

      The only novel from the 1890s to rival Stoker’s magnum opus in popularity is H. G. Wells’ The War of the Worlds (1898), which was the first novel to feature alien vampires. For the benefit of those who haven’t read Wells’ classic, or are only familiar with the plot through watching adulterated film versions, the vampires are the invading Martians, who, we learn, turned to vampirism after their digestive tracts atrophied almost completely, making them solely reliant on blood for sustenance. Initially they preyed on their fellow Martians, but when supplies of the life-giving fluid became exhausted they were forced to look beyond their own planet for survival, and found just what they needed on neighbouring Earth.

      J. Maclaren Cobban’s Master of His Fate (1890), which was strongly influenced by Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde, concerns the tragic fate of a scientist who has discovered a formula that enables him to renew his youth by absorbing energy from other people merely by touching them. However, as the necessity to absorb larger amounts of energy arises, he is forced to commit suicide to prevent the deaths of his ‘donors,’ who include the woman he loves. Another novel probably inspired by Stevenson’s split-personality classic is Oscar Wilde’s The Picture of Dorian Gray (1891). While not usually thought of as a vampire, Gray can quite legitimately be likened to one in view of his destructive, self-indulgent lifestyle, an essential part of which is the consumption of other people’s life-energy in order to gain eternal youth. Vampirism of a similar nature is practised in H. J. Chaytor’s The Light of the Eye (1897) and L. T. Meade’s The Desire of Men: An Impossibility (1899). In the former, a man’s eyes have the power to suck out people’s vitality, while Meade’s thriller revolves around weird experiments in a strange house, where the aged regain their lost youth at the expense of the young. Other novels from the 1890s with vampirism as the main or subsidiary theme are: The Soul of Countess Adrian (1891), by Mrs Campbell Praed; The Strange Story of Dr Senex (1891), by E. E. Baldwin; Sardia: A Story of Love (1891), by Cora Linn Daniels; The Fair Abigail (1894), by Paul Heyse; The Lost Stradivarius (1895), by J. Meade Falkner; Lilith (1895), by George MacDonald; The Blood of the Vampire (1897), by Florence Marryat; In Quest of Life (1898), by Thaddeus W. Williams; and The Enchanter (1899), by U. L. Silberrad.

      The only vampire novels from the first decade of the twentieth century of any significance are In the Dwellings of the Wilderness (1904), by C. Bryson Taylor; The Woman in Black (1906), by M. Y. Halidom; and The House of the Vampire (1907), by George Sylvester Viereck. In the first of these, a party of American archaeologists is attacked vampirically by the revivified mummy of an Egyptian princess; while the novel by the pseudonymous M. Y. Halidom features a glamorous seductress who has retained her beauty and youthful appearance for centuries by sucking the blood of her lovers. In contrast, the vampire in Viereck’s novel – an arrogant, self-centred writer – acts like a psychic sponge, stealing the most creative thoughts of his protégés and passing them off as his own.

      A short story from the turn of the century which has remained popular over the years is F. G. Loring’s ‘The Tomb of Sarah.’ First published in the December 1900 issue of Pall Mall Magazine, it centres on the nocturnal activities of an undead witch who has been accidentally released from the confinement of her tomb during renovations to a church. For a while her nightly forays in search of blood cause great concern among the local community, but she is eventually caught and permanently laid to rest by the time-honoured ritual of driving a stake through her heart. A much more sensational story from this period, Richard Marsh’s ‘The Mask’ (Marvels and Mysteries, 1900), is about a homicidal madwoman adept in the art of mask-making who transforms herself into a raving beauty and tries to suck the blood of the story’s hero. Female vampires are also featured in two stories in Hume Nisbet’s collection Stories Weird and Wonderful (1900). СКАЧАТЬ