GRSJ224/Sexuality in Vampire Literature

Sexuality depicted in vampire literature has seen drastic changes throughout the centuries. The literature is often able to act as a social commentary on the predominant culture during the era. The literature of vampire first appeared in the 18th-century in poetry before becoming a stock character in fiction. They were often illustrated with strong undertones of eroticism that was used to relate sexual characteristics with evil and sin, whereas current trends tend to portray vampires as romantic and seductive beings. The ever changing depiction of vampire sexuality can be a reflection of society’s view of the current culture regarding sex.

Artwork based on Varney the Vampyre by James Malcolm Rymer and Thomas Peckett Prest, an early depiction of vampire in the early 18th-century

Vampire

A vampire is a supernatural being; a supposed corpse that has come alive during the night to feed on the blood of living creatures. The vampire is usually described with having pointed canine teeth for bloodsucking, and generally believed to be demonic in nature. In folklore, it is believed that death stemmed from a misfortunate event or under other circumstances (such as consuming the blood of the undead), the dead will rise from the grave to bring carnage for the living. Vampirism had caused mass hysteria in the 18th-century due to the the build-up of the ferment of science and psuedo-science interests that had characterized the 17th century (Hallab, 2009, p.20) as a reflection of society's anxiety and fear regarding the unknowns of death.

History of Sexuality Depiction in Vampire Literature

18th century

The first recognized appearance of vampire in literature was in 1798 in Der Vampir, a German poem written by Heinrich August Ossenfelder. The vampire was demonstrated as an aggressive seducer, while the literature had strong sexual undertones as the vampire visits the maiden each night for a kiss and a taste of her blood, vowing to threaten her religious faith in Christianity. The elements were then able to persist as a constant theme throughout the history of the genre. It is argued that from the very first piece of literature, religious and sexual aspects were extremely connected, often pegging sexuality as a sin against Christianity.

During the 18th century there was an apparent trend in the antagonism of vampires against Christianity; such that the creatures were able to be warded off by Christian iconography . This phenomenon would then become a norm and often incorporated into vampiric literature as a struggle between good and evil through the conflict between sexual elements and religious power.

19th century

In vampire fictions, women were often depicted showing overtly sexual tendencies, likely contributing to the popularity of the genre. Vampire literature had become increasingly popular by the 19th century where there was a constant theme of fear from the unknown death and women's sexuality, reflecting the underlying social stigmas of the era.This fear was likely associated with the growing power of women in British society in the Fin-de-Siècle culture as the female vampire was often seen as a threat to society through embodying independence, often depicted through sexuality, and enhanced through religious ideals. Hence the ideal Victorian woman would embody asexual and dependent traits.

Most notable literature of the era were Sheridan Le Fanu's Carmilla and Bram Stoker's Dracula.

Dracula

Bram Stoker's "Dracula" was loosely based on Vlad Drăculea III, a Wallachian prince from the 15th century. The story is often seen as an indicator of societal trends during the Victorian age. This can be observed from the characterization of the female protagonist, Mina, who was portrayed as submissive and chaste, showing asexual tendencies that voice no desire nor sexual impulses toward neither Dracula nor her husband; whereas the three antagonistic daughters of Dracula are depicted as overtly sexual beings. Hence by linking unchaste with evil, Stoker was able to inadvertently showcase the Victorian standards of women.

Stoker was greatly influenced by Le Fanu, Carmilla's author and Stoker's editor while he was a theater critic. Both authors were able to create fascinating female antagonists that were groundbreaking for the era. The two novels also shared the same setting, lore, and similar characters.

Carmilla

Known for its erotic undertones, the story was also one of the earliest literature that depicted female homosexuality. Relative to Bram Stoker's overtly sexualized antagonists in Dracula, Le Fanu portrays the female vampire's pursuit of the protagonist, Laura, through a romantic desire and a more nuanced approach. Furthermore, Carmilla's hunger is often framed as an intense sexual attraction towards Laura

Original illustration of Carmilla

Sometimes after an hour of apathy, my strange and beautiful companion would take my hand and hold it with a fond pressure, renewed again and again; blushing softly, gazing in my face with languid and burning eyes, and breathing so fast that her dress rose and fell with the tumultuous respiration. It was like the ardor of a lover; it embarrassed me; it was hateful and yet overpowering; and with gloating eyes she drew me to her, and her hot lips traveled along my cheek in kisses. (Carmilla, chapter 4).

While Carmilla is portrayed as a monstrous murderer, she is also seen displaying intense longing for romance. The depiction of Carmilla has created numerous discourse on Le Fanu's depiction of women in society. Scholars have long argued over the interpretation of Carmella, whether her character serves as a warning to society of deceptive manipulations brought on by a woman's independence, or as challenging societal norms of the era.
Regardless, Carmilla has served a pivotal role in the genre as it was the first story with such complex characters that revolved around romance.

20th century

Concepts of gender in media was greatly shifted relative to the previous eras. Vampires have become more complex as opposed to the prior depictions of being solely evil. The depicted creatures have now gained motive and exhibit multi-faceted characterization. Furthermore, female vampires have become more common, and thus not confined to the roles of dependent characters.

This trend was likely a reflection of societal trends caused by secularization and increased scientific theory. The vampire genre in the 20th century saw a transformation on the definition of good and evil as Fountain states that ". . .we have come to understand some of the more complex workings of the psychological structures of human beings, our reliance and faith in the concepts of good and evil have been tested. We are no longer able to conclude that a vampire is evil based solely on his or her deeds. The line has become grayed.. These, in turn, nullify previous anxieties regarding sexualization linked with vampire maliciousness.

Vampires in Current Literature

Book cover for My Lord Vampire, a contemporary depiction of vampire romance

New depictions of vampires have emerged in the current century, undermining predecessors of horror and revulsion that surround the genre. The new vampires signify the reassessment of horror in a culture in which transgressions, repressions, taboos, and prohibitions that no longer disturb social limits. They are no longer an embodiment of fear and are often portrayed as showing sympathetic tendencies. The loss of horror has not led to a decrease in popularity, but have instead pioneered a new pathway into weaving a romantic fantasy for the supernatural beings as they are often depicted as embodying desired physical and emotional traits. This prominent theme can be seen from the young adult book ‘’Twilight’’. Edward Cullen, arguably the most popular vampire of the decade, "is able to remain both Gothic and 'other' in a sense, but in a way it induces awe rather than horror. In some cases he is even defined as the norm while the humans take form of the 'other'."

While the genre is no longer associated with horror the way it was during the Victorian period, the allure still remains due to its connection with sexuality.