Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is and nothing more.”
Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”—here I opened wide the door;—
Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”—
Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”
Open here I flung the door, when, with many a huff and grunting,
In there stepped a stoutly walrus of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, flopped at my chamber door—
Lay upon the floor at my chamber door—
Loaf, and sat, and nothing more.
Then this briny creature beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy form be fat and tubular, thou,” I said, “art sure no insular,
Ghastly grim and random walrus wandering from the Nightly shore—
Tell me what thy lordly name is on the Night’s Plutonian shore!”
Quoth the Walrus “Nevermore.”
Much I marvelled this ungainly mammal to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing walrus at his chamber door—
Fish or beast upon the floor situated at his chamber door,
With such name as “Nevermore.”
But the Walrus, sitting lonely on the cold floor, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a flipper then he flapped—
Till I scarcely more than muttered “Other friends have swam before—
On the morrow he will leave me, as my Hopes have swam before.”
Then the Walrus said “Nevermore.”
Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of ‘Never—nevermore’.”
But the Walrus still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of creature, and floor and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous mammal of yore—
What this grim, ungainly, ghastly, fat, and ominous creature of yore
Meant in roaring “Nevermore.”
This I sat engaged in guessing, but no syllable expressing
To the beast whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Quoth the Walrus “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if beast or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!”
Quoth the Walrus “Nevermore.”
“Prophet!” said I, “thing of evil!—prophet still, if beast or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore.”
Quoth the Walrus “Nevermore.”
“Be that word our sign of parting, beast or fiend!” I shrieked, upstarting—
“Get thee back into the tempest and the Night’s Plutonian shore!
Leave no yellow tusk as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the floor at my door!
Take thy tusks from out my heart, and take thy form from out my door!”
Quoth the Walrus “Nevermore.”
And the Walrus, never flipping, still is sitting, still is sitting
On the dark and dusty stretch just before my chamber door;
And his eyes have all the seeming of a demon’s that is dreaming,
And the lamp-light o’er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!
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The Vampires in Castlevania
Vlad III Dracula Ţepeș (Impaler) was a real person. He was a Wallachian voivode who was born sometime between 1429 and 1431, and he died in 1476. The exact manner of his death has been lost to history, but the common belief is he was beheaded in battle and his head was sent to Sultan Mehmed II in Constantinople as proof of his death.
As for Bram Stoker’s Dracula, some historians are starting to doubt the prince was the actual inspiration for the famous vampire. One of the reasons for this is Stoker was a very thorough note-taker, but none of his notes for writing Dracula mention Vlad III or any of his lifetime achievements/atrocities. So it’s possible Stoker only chose the name ‘Dracula’ because he knew it translated as ‘son of the Devil.’ Further reading - Dracula: Sense and Nonsense by Elizabeth Miller.
Carmilla is the name of a lady vampire in the novella Carmilla by Sheridan le Fanu, a story that is actually older than Stoker’s novel. It features a lesbian relationship between Carmilla and the protagonist, Laura, and was written as a criticism of the Victorian view of women, specifically repressed sexuality.
Varney also comes from a book. Varney the Vampire or The Feast of Blood was a penny dreadful written by James Malcolm Rymer and Thomas Peckett Prest. (I haven’t read this one all the way through, but there is a scene where Varney is struggling to get over a garden wall, and I think that’s hilarious. Not exactly apex predator material.)
Varney: You think you have me stymied, don’t you.
Trevor: No, I think a garden wall has you stymied.
Lenore is the name of a German poem written by Gottfried August Bürger. It’s about a woman named Lenore who curses God because her beloved did not come back from war, so Death kidnaps her to reunite them, effectively condemning her soul for eternity. It’s not about a vampire, but the poem has had a hand in influencing vampire literature.
Anyway, does anyone else really want to see Lenore cheering Trevor on in the last battle? Or stealing the knife and ending Death herself. Cause I do now.
The closest thing to a vampire in Viking folklore is the draugr, although this creature is more of a restless ghost than what we think of as a vampire. They haunt the graves of the dead and guard the treasures they acquired in life by driving humans insane, drinking their blood, eating their flesh, and other nasty things.
Side note: I’m really curious as to what led Godbrand to becoming a vampire. Immortality didn’t really play a huge factor in Old Norse culture since the Vikings believed a glorious death in battle was the one and only way to go to Valhalla. Other deaths that were deemed shameful or unworthy landed you in Helheim, which I really need to address further in a separate post.
Japan also doesn’t have an exact vampire equivalent, but they do have some yokai spirits that have vampire-like characteristics, including but not limited to:
Nukekubi: A flying head that detaches from its human body at night and attacks people to drink their blood.
Rokurokubi: A similar creature to nukekubi except the head doesn’t detach but rather travels from the body via an elongated neck.
Nure-Onna: The ‘drenched woman’ is a large serpent with the head of a woman that drinks blood.
Personally, I would have loved to see Cho’s head fly off to attack someone simply to see Sypha, Alucard, and Trevor briefly panic.
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