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Magical Creatures
ผู้เป็นแวมไพร์ The Vampyre
"ออบรีย์" กำพร้าพ่อแม่มาตั้งแต่ยังเล็ก หนุ่มน้อยผู้คมขำ มั่งมี และใสซื่อผู้นี้ เดินทางมายังลอนดอนเพื่อเผชิญโลกกว้าง และแล้วก็บังเอิญได้พบกับ "ลอร์ดรุธเวน" ผู้มีท่าทีชอบกลและมากไปด้วยปริศนา
เหตุเพราะอ่อนเดียงสา ออบรีย์จึงได้แต่ถลำลึก ไปกับเรื่องไม่ชอบมาพากลที่รายล้อมท่านลอร์ดผู้นี้ โดยหารู้ไม่ว่าการพบกันดังกล่าว อาจนำไปสู่จุดจบอันไม่มีใครคาดเดา...
--- เกี่ยวกับผู้แต่ง ---
"ผู้เป็นแวมไพร์ : The Vampyre" เรื่องสั้นที่เบิกโรงสู่วรรณกรรมแวมไพร์ยุคปัจจุบัน เป็นผลงานที่ถือกำเนิดขึ้นจากการพบปะสมาคมใน "ปีที่ไม่มีฤดูร้อน" (ค.ศ.1816)
การผลัดกันเล่าเรื่องลึกลับสยองขวัญจุดประกายให้ "แมรี เชลลี" ร่างผลงานที่ต่อมาพัฒนาไปเป็นเรื่อง "แฟรงเกนสไตน์" ส่วนลอร์ดไบรอนเขียน "เรื่องแต่งค้าง" ทิ้งไว้ ซึ่งโพลีโดรีก็ได้นำเค้าโครงของ "เรื่องแต่งค้าง" นี้มาแต่งใหม่จนให้กำเนิด The Vampyre เล่มนี้ขึ้นมาในที่สุด
The Vampyre ปรากฏแก่สายตาผู้อ่านครั้งแรกในนิตยสาร "เดอะ นิว มันธ์ลี แม็กกาซีน" ของนายเฮนรี โคลเบิร์ตเมื่อปี 1819 ภายใต้ชื่อผู้ประพันธ์คือลอร์ดไบรอน และมีการนำมาตีพิมพ์เข้าเล่มในไม่กี่เดือนต่อมา โดยระบุชื่อผู้แต่งเป็นลอร์ดไบรอนตามคำขอของนายโคลเบิร์น
แม้ว่าทั้งลอร์ดไบรอนและโพลีโดรีจะไม่พอใจที่นายโคลเบิร์นตีพิมพ์ผลงานภายใต้ชื่อลอร์ดไบรอนเพื่อเรียกความสนใจผู้อ่าน แต่ก็นับเป็นเวลานานกว่าชื่อโพลีโดรีจะปรากฎในฐานะชื่อเจ้าของผลงานเล่มนี้
เหตุเพราะอ่อนเดียงสา ออบรีย์จึงได้แต่ถลำลึก ไปกับเรื่องไม่ชอบมาพากลที่รายล้อมท่านลอร์ดผู้นี้ โดยหารู้ไม่ว่าการพบกันดังกล่าว อาจนำไปสู่จุดจบอันไม่มีใครคาดเดา...
--- เกี่ยวกับผู้แต่ง ---
"ผู้เป็นแวมไพร์ : The Vampyre" เรื่องสั้นที่เบิกโรงสู่วรรณกรรมแวมไพร์ยุคปัจจุบัน เป็นผลงานที่ถือกำเนิดขึ้นจากการพบปะสมาคมใน "ปีที่ไม่มีฤดูร้อน" (ค.ศ.1816)
การผลัดกันเล่าเรื่องลึกลับสยองขวัญจุดประกายให้ "แมรี เชลลี" ร่างผลงานที่ต่อมาพัฒนาไปเป็นเรื่อง "แฟรงเกนสไตน์" ส่วนลอร์ดไบรอนเขียน "เรื่องแต่งค้าง" ทิ้งไว้ ซึ่งโพลีโดรีก็ได้นำเค้าโครงของ "เรื่องแต่งค้าง" นี้มาแต่งใหม่จนให้กำเนิด The Vampyre เล่มนี้ขึ้นมาในที่สุด
The Vampyre ปรากฏแก่สายตาผู้อ่านครั้งแรกในนิตยสาร "เดอะ นิว มันธ์ลี แม็กกาซีน" ของนายเฮนรี โคลเบิร์ตเมื่อปี 1819 ภายใต้ชื่อผู้ประพันธ์คือลอร์ดไบรอน และมีการนำมาตีพิมพ์เข้าเล่มในไม่กี่เดือนต่อมา โดยระบุชื่อผู้แต่งเป็นลอร์ดไบรอนตามคำขอของนายโคลเบิร์น
แม้ว่าทั้งลอร์ดไบรอนและโพลีโดรีจะไม่พอใจที่นายโคลเบิร์นตีพิมพ์ผลงานภายใต้ชื่อลอร์ดไบรอนเพื่อเรียกความสนใจผู้อ่าน แต่ก็นับเป็นเวลานานกว่าชื่อโพลีโดรีจะปรากฎในฐานะชื่อเจ้าของผลงานเล่มนี้
112 pages, Paperback
First published April 1, 1819
About the author
John William Polidori
359 books181 followersJohn William Polidori was an Italian English physician and writer, known for his associations with the Romantic movement and credited by some as the creator of the vampire genre of fantasy fiction.
Polidori was the oldest son of Gaetano Polidori, an Italian political émigré scholar, and Anna Maria Pierce, a governess. He had three brothers and four sisters.
He was one of the earliest pupils at recently established Ampleforth College from 1804, and in 1810 went up to the University of Edinburgh, where he wrote a thesis on sleepwalking and received his degree as a doctor of medicine on 1 August 1815 at the age of 19.
In 1816 Dr. Polidori entered Lord Byron's service as his personal physician, and accompanied Byron on a trip through Europe. At the Villa Diodati, a house Byron rented by Lake Geneva in Switzerland, the pair met with Mary Wollstonecraft Godwin, and her husband-to-be, Percy Bysshe Shelley, and their companion (Mary's stepsister) Claire Clairmont.
One night in June, after the company had read aloud from the Tales of the Dead, a collection of horror tales, Byron suggested that they each write a ghost story. Mary Shelley worked on a tale that would later evolve into Frankenstein. Byron wrote (and quickly abandoned) a fragment of a story, which Polidori used later as the basis for his own tale, The Vampyre, the first vampire story published in English.
Rather than use the crude, bestial vampire of folklore as a basis for his story, Polidori based his character on Byron. Polidori named the character "Lord Ruthven" as a joke. The name was originally used in Lady Caroline Lamb's novel Glenarvon, in which a thinly-disguised Byron figure was also named Lord Ruthven.
Polidori's Lord Ruthven was not only the first vampire in English fiction, but was also the first fictional vampire in the form we recognize today—an aristocratic fiend who preys among high society.
Dismissed by Byron, Polidori travelled in Italy and then returned to England. His story, "The Vampyre", was published in the April 1819 issue of New Monthly Magazine without his permission. Whilst in London he lived and died in Great Pulteney Street (Soho). Much to both his and Byron's chagrin, "The Vampyre" was released as a new work by Byron. Byron even released his own Fragment of a Novel in an attempt to clear up the mess, but, for better or worse, "The Vampyre" continued to be attributed to him.
His long, Byron-influenced theological poem The Fall of the Angels, was published anonymously in 1821.
He died in August 1821, weighed down by depression and gambling debts. Despite strong evidence that he committed suicide by means of prussic acid, the coroner gave a verdict of death by natural causes.
His sister Frances Polidori married exiled Italian scholar Gabriele Rossetti, and so John is the uncle of Maria Francesca Rossetti, Dante Gabriel Rossetti, William Michael Rossetti and Christina Rossetti, though they were born after his death.
His sister Charlotte made a transcription of his Diaries, but censored "peccant passages" and destroyed the original. Based only on the transcripton, The Diary of John Polidori was edited by William Michael Rossetti and first published in 1911 by Elkin Mathews (London). A reprint of this book, The diary of Dr. John William Polidori, 1816, relating to Byron, Shelley, etc was published by Folcroft Library Editions (Folcroft, Pa.) in 1975. Another reprint by the same title was printed by Norwood Editions (Norwood, Pa.) in 1978.
A number of films have depicted John Polidori and the genesis of the Frankenstein and "Vampyre" stories in 1816: Gothic directed by Ken Russell (1986), Haunted Summer directed by Ivan Passer (1988) and Remando al viento (English title: Rowing with the Wind) directed by Gonzalo Suárez (1988). He also appears as a minor and unsympathetic character in the Tim Powers horror novel The Stress o
Polidori was the oldest son of Gaetano Polidori, an Italian political émigré scholar, and Anna Maria Pierce, a governess. He had three brothers and four sisters.
He was one of the earliest pupils at recently established Ampleforth College from 1804, and in 1810 went up to the University of Edinburgh, where he wrote a thesis on sleepwalking and received his degree as a doctor of medicine on 1 August 1815 at the age of 19.
In 1816 Dr. Polidori entered Lord Byron's service as his personal physician, and accompanied Byron on a trip through Europe. At the Villa Diodati, a house Byron rented by Lake Geneva in Switzerland, the pair met with Mary Wollstonecraft Godwin, and her husband-to-be, Percy Bysshe Shelley, and their companion (Mary's stepsister) Claire Clairmont.
One night in June, after the company had read aloud from the Tales of the Dead, a collection of horror tales, Byron suggested that they each write a ghost story. Mary Shelley worked on a tale that would later evolve into Frankenstein. Byron wrote (and quickly abandoned) a fragment of a story, which Polidori used later as the basis for his own tale, The Vampyre, the first vampire story published in English.
Rather than use the crude, bestial vampire of folklore as a basis for his story, Polidori based his character on Byron. Polidori named the character "Lord Ruthven" as a joke. The name was originally used in Lady Caroline Lamb's novel Glenarvon, in which a thinly-disguised Byron figure was also named Lord Ruthven.
Polidori's Lord Ruthven was not only the first vampire in English fiction, but was also the first fictional vampire in the form we recognize today—an aristocratic fiend who preys among high society.
Dismissed by Byron, Polidori travelled in Italy and then returned to England. His story, "The Vampyre", was published in the April 1819 issue of New Monthly Magazine without his permission. Whilst in London he lived and died in Great Pulteney Street (Soho). Much to both his and Byron's chagrin, "The Vampyre" was released as a new work by Byron. Byron even released his own Fragment of a Novel in an attempt to clear up the mess, but, for better or worse, "The Vampyre" continued to be attributed to him.
His long, Byron-influenced theological poem The Fall of the Angels, was published anonymously in 1821.
He died in August 1821, weighed down by depression and gambling debts. Despite strong evidence that he committed suicide by means of prussic acid, the coroner gave a verdict of death by natural causes.
His sister Frances Polidori married exiled Italian scholar Gabriele Rossetti, and so John is the uncle of Maria Francesca Rossetti, Dante Gabriel Rossetti, William Michael Rossetti and Christina Rossetti, though they were born after his death.
His sister Charlotte made a transcription of his Diaries, but censored "peccant passages" and destroyed the original. Based only on the transcripton, The Diary of John Polidori was edited by William Michael Rossetti and first published in 1911 by Elkin Mathews (London). A reprint of this book, The diary of Dr. John William Polidori, 1816, relating to Byron, Shelley, etc was published by Folcroft Library Editions (Folcroft, Pa.) in 1975. Another reprint by the same title was printed by Norwood Editions (Norwood, Pa.) in 1978.
A number of films have depicted John Polidori and the genesis of the Frankenstein and "Vampyre" stories in 1816: Gothic directed by Ken Russell (1986), Haunted Summer directed by Ivan Passer (1988) and Remando al viento (English title: Rowing with the Wind) directed by Gonzalo Suárez (1988). He also appears as a minor and unsympathetic character in the Tim Powers horror novel The Stress o
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October 7, 2024
I’ve always been amused that Lord Byron was such an epic icon of debauchery and being a total shit that the modern interpretation of vampires was more or less created in his image. Legends of vampires have been around for centuries, going back even to cultures of Mesopotamians and the Romans where there were stories of creatures that drained the blood of sleeping victims, but The Vampyre by John William Polidori is credited as the combining them into the first modern vampire tale and published in New Monthly Magazine in 1819. It was originally attributed to Lord Byron—Polidori’s The Vampyre did in fact borrow a lot from Byron’s unfinished vampire story Fragment of a Novel—which adds an extra layer of humor seeing as the vampire in the story is quite literally based on him in several ways and Byron himself is referenced in the opening. A fun little story, The Vampyre brought about the idea of these undead creatures as seductive aristocrats as we watch the narrator, Aubrey, slowly realize the wealthy gentleman he has accompanied across Europe may be preying on women more than just sexually. A bit dense and told at a remove, this is still a cool piece of horror history and at only a handful of pages, well worth the read.
The creation of the story is nearly as exciting a tale as the vampire story itself. During the summer of 1816, Byron, Polidori, Percy Bysshe Shelley, Mary Shelley and her sister Claire all stayed together in Geneva. Due to non-stop rain, the group decided to entertain themselves by each writing a ghost story (which is also the origin of Shelley’s Frankenstein), which they figured would pair well with the copious amounts of wine and laudanum they were consuming. Byron began his Fragment of a Novel, which was never completed and Polidori crafted The Vampyre were much inspired by Byron’s tale. Though one will also notice that the opening of the story very much aligns with Polidori’s own experience: Aubrey accompanies Lord Ruthven around Europe much the way Polidori followed Byron around as his personal physician, both Polidori and Aubrey finding their companion to initially be very seductive and charming but slowly revealing themselves in immorality and debauchery. Ruthven brings the downfall of young wealthy persons they encounter and brings women to vice and ruin. Those who except money or aid from Ruthven meet bad ends, and there is a theme of disillusionment running through the story as well as a theme of unstoppable destruction with no concern who will be harmed in its path. Which is not far off from Byron and what happened to Polidori after being his friend.
In fact, Ruthven is very intentionally written to call Byron to mind. The name is borrowed from the novel Glenarvon by Caroline Lamb, who was a former lover of Byron’s and her character Clarence de Ruthven was written as a blatant and unflattering portrait of Byron (there are notes that Polidori has intended to change the name to Strongmore but he took his own life with prussic acid before that could happen). The brilliance of all this is (beyond that dunking on Lord Byron is always a great time, I mean I wrote a whole review about it) that the image of a vampire was transformed into a criticism of aristocracy as symbolism of the wealthy as draining the life blood of society. This became a good metaphor that even Karl Marx would draw upon writing that capital was vampiric.
There is some wonderful characterization going on in the story, with Ruthven constantly being described as death-like, such as his ‘dead grey eyes’ on a face that is described as having a ‘deathly hue.’ Yet despite this, he is able to woo any man or woman he desires (not unlike Byron) and ‘his character was dreadfully vicious, for that the possession of irresistible powers of seduction, rendered his licentious habits more dangerous to society.’ We see in this the modern mold for vampires and the next two major vampire stories, Carmilla and Dracula, would follow suit with their vampire presented as a wealthy aristocrat preying on women.
This is a short and fun read, though admittedly a bit dry. It is told at a remove from the action and the emotion doesn’t quite pop the way something like Carmilla does, though it is still an engaging story with a body count. It is almost Halloween, so check out the first vampire tale and enjoy!
3.5/5
The creation of the story is nearly as exciting a tale as the vampire story itself. During the summer of 1816, Byron, Polidori, Percy Bysshe Shelley, Mary Shelley and her sister Claire all stayed together in Geneva. Due to non-stop rain, the group decided to entertain themselves by each writing a ghost story (which is also the origin of Shelley’s Frankenstein), which they figured would pair well with the copious amounts of wine and laudanum they were consuming. Byron began his Fragment of a Novel, which was never completed and Polidori crafted The Vampyre were much inspired by Byron’s tale. Though one will also notice that the opening of the story very much aligns with Polidori’s own experience: Aubrey accompanies Lord Ruthven around Europe much the way Polidori followed Byron around as his personal physician, both Polidori and Aubrey finding their companion to initially be very seductive and charming but slowly revealing themselves in immorality and debauchery. Ruthven brings the downfall of young wealthy persons they encounter and brings women to vice and ruin. Those who except money or aid from Ruthven meet bad ends, and there is a theme of disillusionment running through the story as well as a theme of unstoppable destruction with no concern who will be harmed in its path. Which is not far off from Byron and what happened to Polidori after being his friend.
In fact, Ruthven is very intentionally written to call Byron to mind. The name is borrowed from the novel Glenarvon by Caroline Lamb, who was a former lover of Byron’s and her character Clarence de Ruthven was written as a blatant and unflattering portrait of Byron (there are notes that Polidori has intended to change the name to Strongmore but he took his own life with prussic acid before that could happen). The brilliance of all this is (beyond that dunking on Lord Byron is always a great time, I mean I wrote a whole review about it) that the image of a vampire was transformed into a criticism of aristocracy as symbolism of the wealthy as draining the life blood of society. This became a good metaphor that even Karl Marx would draw upon writing that capital was vampiric.
There is some wonderful characterization going on in the story, with Ruthven constantly being described as death-like, such as his ‘dead grey eyes’ on a face that is described as having a ‘deathly hue.’ Yet despite this, he is able to woo any man or woman he desires (not unlike Byron) and ‘his character was dreadfully vicious, for that the possession of irresistible powers of seduction, rendered his licentious habits more dangerous to society.’ We see in this the modern mold for vampires and the next two major vampire stories, Carmilla and Dracula, would follow suit with their vampire presented as a wealthy aristocrat preying on women.
This is a short and fun read, though admittedly a bit dry. It is told at a remove from the action and the emotion doesn’t quite pop the way something like Carmilla does, though it is still an engaging story with a body count. It is almost Halloween, so check out the first vampire tale and enjoy!
3.5/5
September 12, 2025
The Vampyre!
Whilst Dracula drones on and on and on and on like a paranormal travelogue, this one just gets right to the point. That makes it vastly easier for a peasant like myself to get through.
Also, published in 1819, this version of the modern vampire is considered one of the first in English literature, so you're able to say you're reading a classic.
Alright, there's a lot of history behind this one. And it's almost as interesting as the story itself. The idea for it was cooked up on that famous night when all of those poetical artsy-fartsy folks got together and had the writing contest that gave the world monsters like Frankenstein.
Byron apparently came up with the idea for a vampire story but abandoned it, and Polidori (his physician) decided to run with the idea and created this.
Very cool.
As for me?
It might not surprise you to know I was first introduced to Lord Ruthven via Marvel comics (Vampire Tales (1973-1975) #1, if you're interested), and that is actually what got me interested in reading Polidori's book.
The gist of this blessedly short tale is that there's this Lord Ruthven guy roaming free in the upper echelons of English society.
He doesn't smile.
Or something like that. Basically, he acts like nothing interests him, and everyone falls all over themselves to invite him to their parties.
There are rumors that he's up to no good with the ladies, as well.
Oooooooh.
So there's this young man, a nice kid named Aubrey. His parents are dead, and he has good guardians who have taken very great care of him and his little sister (she becomes important later), but now he wants to roam around a bit and do his tour. And guess who he wants to tour with.
EXACTLY.
He has fallen under the spell of this douchebag and wants to know more about him because he's so cool and aloof.
Naturally, shit goes sideways.
BIG TIME.
Alright. So, this next part is something that makes ZERO sense now, but I've run across it time and time again in classics. The hero gives his word about something and then can't break it.
Like, to the detriment of himself or others.
In this case, Aubrey swears he won't say anything bad about Ruthven for one year.
Due to those somewhat spoilery circumstances, Aubrey doesn't see the harm in his promise.
BUT THEN SHIT GETS REAL FREAKY.
Alright, I knew how this was going to turn out from the get-go.
I read the comic, remember?
But even if I hadn't, I think most readers today would see how failure to speak up was going to come back and bite Aubrey in the ass.
Get past all of that and you've got one hell of a fun classic.
In the audiobook version I read, there was the inclusion of some letters by (it never says who) an apologist and fan of Byron who apparently is traveling around to places he has been and picking up the local stories about him. All of them are along the lines of, He was a great chap! Bought our daughter a piano! Tips well!, kind of stuff. I have no feelings about Lord Byron one way or another, as I have yet to read anything he wrote, and that's mostly because I don't enjoy reading poetry.
Which probably tells a lot of you all you need to know about me.
I said all of that to say this, I wouldn't recommend this particular audiobook because of that. I was confused for the entirety of the reading and had to go search out another reading of the story (on YouTube, of all places) to decipher what the actual story was. The letters blended into this one, and I couldn't tell at first if they were part of the original story Polidori wrote or what. In the end, I don't know what they were doing there (other than the story's connection to Byron) because all I wanted was The Vampyre story.
If anyone knows the answer, please feel free to chime in because I already know I'm a dumbass and might be missing something that's fairly obvious to someone else.
But I do think this is an excellent book and I'd recommend it to anyone who wants to bone up on their vampyre lore. I mean, this is short.
I appreciate that, sir.
Audiobook version
B7 Media
read by Gary Turner
English 1h 29m
Part 7 of the Victorian Horror series
Whilst Dracula drones on and on and on and on like a paranormal travelogue, this one just gets right to the point. That makes it vastly easier for a peasant like myself to get through.
Also, published in 1819, this version of the modern vampire is considered one of the first in English literature, so you're able to say you're reading a classic.
Alright, there's a lot of history behind this one. And it's almost as interesting as the story itself. The idea for it was cooked up on that famous night when all of those poetical artsy-fartsy folks got together and had the writing contest that gave the world monsters like Frankenstein.
Byron apparently came up with the idea for a vampire story but abandoned it, and Polidori (his physician) decided to run with the idea and created this.
Very cool.
As for me?
It might not surprise you to know I was first introduced to Lord Ruthven via Marvel comics (Vampire Tales (1973-1975) #1, if you're interested), and that is actually what got me interested in reading Polidori's book.
The gist of this blessedly short tale is that there's this Lord Ruthven guy roaming free in the upper echelons of English society.
He doesn't smile.
Or something like that. Basically, he acts like nothing interests him, and everyone falls all over themselves to invite him to their parties.
There are rumors that he's up to no good with the ladies, as well.
Oooooooh.
So there's this young man, a nice kid named Aubrey. His parents are dead, and he has good guardians who have taken very great care of him and his little sister (she becomes important later), but now he wants to roam around a bit and do his tour. And guess who he wants to tour with.
EXACTLY.
He has fallen under the spell of this douchebag and wants to know more about him because he's so cool and aloof.
Naturally, shit goes sideways.
BIG TIME.
Alright. So, this next part is something that makes ZERO sense now, but I've run across it time and time again in classics. The hero gives his word about something and then can't break it.
Like, to the detriment of himself or others.
In this case, Aubrey swears he won't say anything bad about Ruthven for one year.
Due to those somewhat spoilery circumstances, Aubrey doesn't see the harm in his promise.
BUT THEN SHIT GETS REAL FREAKY.
Alright, I knew how this was going to turn out from the get-go.
I read the comic, remember?
But even if I hadn't, I think most readers today would see how failure to speak up was going to come back and bite Aubrey in the ass.
Get past all of that and you've got one hell of a fun classic.
In the audiobook version I read, there was the inclusion of some letters by (it never says who) an apologist and fan of Byron who apparently is traveling around to places he has been and picking up the local stories about him. All of them are along the lines of, He was a great chap! Bought our daughter a piano! Tips well!, kind of stuff. I have no feelings about Lord Byron one way or another, as I have yet to read anything he wrote, and that's mostly because I don't enjoy reading poetry.
Which probably tells a lot of you all you need to know about me.
I said all of that to say this, I wouldn't recommend this particular audiobook because of that. I was confused for the entirety of the reading and had to go search out another reading of the story (on YouTube, of all places) to decipher what the actual story was. The letters blended into this one, and I couldn't tell at first if they were part of the original story Polidori wrote or what. In the end, I don't know what they were doing there (other than the story's connection to Byron) because all I wanted was The Vampyre story.
If anyone knows the answer, please feel free to chime in because I already know I'm a dumbass and might be missing something that's fairly obvious to someone else.
But I do think this is an excellent book and I'd recommend it to anyone who wants to bone up on their vampyre lore. I mean, this is short.
I appreciate that, sir.
Audiobook version
B7 Media
read by Gary Turner
English 1h 29m
Part 7 of the Victorian Horror series
December 11, 2021
Vampyre by John William Polidori is a 2017 Open Road Media publication. (Originally published in 1819)
I’ve been meaning to read this short story for years. Every fall when I find myself in the mood for a good scary story, I pause to consider this book, then I see the ratings and reviews, and give it a pass. This year, I decided that, because it was written even before Bram Stroker’s vampire masterpiece, I really should check it out. It is such a short story that it would take no time to read it, and then I could decide for myself if the ratings were justified or not.
Honestly, I don’t see why people have judged this book so harshly. It’s subtle, for sure, and it doesn’t have much going on, as far as bloody graphics go.
Still, when one thinks back to the time period the book was written in, and the many rumors that circulated about the ‘undead’, I think the atmosphere was probably unsettling to readers of that time, and it effectively captured a sinister sense of foreboding in an extremely sparse amount of time and space.
I think some modern readers are so jaded and desensitized they have trouble sensing atmospheric nuance. Personally, I thought the book, short as it was, had a few chilling moments- they just weren't dripping in blood and gore...
I'll skip the lecture on how an atmosphere is harder to create because I'm sure it would just fall on deaf ears.
Nevertheless-
The story is too brief to cover more than just the basics of vampire lore- but it does set the stage for the classic tales of the undead that came later, and it is quite apparent these later stories 'borrowed' from this tale- and as such, it deserves its place in history.
Not only that, but the story is also part of the writing challenge between Bryon, Shelley and Polidori- a challenge that produced Shelley’s Frankenstein- so there is that.
The story is fairly simple, not groundbreaking like Shelley's work, by any means, but certainly not as bad as everyone made it sound.
3.5 stars
I’ve been meaning to read this short story for years. Every fall when I find myself in the mood for a good scary story, I pause to consider this book, then I see the ratings and reviews, and give it a pass. This year, I decided that, because it was written even before Bram Stroker’s vampire masterpiece, I really should check it out. It is such a short story that it would take no time to read it, and then I could decide for myself if the ratings were justified or not.
Honestly, I don’t see why people have judged this book so harshly. It’s subtle, for sure, and it doesn’t have much going on, as far as bloody graphics go.
Still, when one thinks back to the time period the book was written in, and the many rumors that circulated about the ‘undead’, I think the atmosphere was probably unsettling to readers of that time, and it effectively captured a sinister sense of foreboding in an extremely sparse amount of time and space.
I think some modern readers are so jaded and desensitized they have trouble sensing atmospheric nuance. Personally, I thought the book, short as it was, had a few chilling moments- they just weren't dripping in blood and gore...
I'll skip the lecture on how an atmosphere is harder to create because I'm sure it would just fall on deaf ears.
Nevertheless-
The story is too brief to cover more than just the basics of vampire lore- but it does set the stage for the classic tales of the undead that came later, and it is quite apparent these later stories 'borrowed' from this tale- and as such, it deserves its place in history.
Not only that, but the story is also part of the writing challenge between Bryon, Shelley and Polidori- a challenge that produced Shelley’s Frankenstein- so there is that.
The story is fairly simple, not groundbreaking like Shelley's work, by any means, but certainly not as bad as everyone made it sound.
3.5 stars
October 31, 2017
This is one of those weird bits of fiction where the story behind its creation is actually more interesting than the work itself: it was the result of a writing challenge between Mary Shelley, Byron and Polidori, the very same challenge that resulted in Mary Shelley's Frankenstein.
The tale begins with a vampire arriving in London; he catches the eyes of the citizens with his uniqueness. They are drawn to him like a moth to a flame; they are enamoured by his sharp, striking, eyes. Everyone wants to be with him, and they’re not fully sure why; it’s like a spell has been cast over all of them, one they cannot resist.
Aubery is shocked to discover that such a creature desires his company. He is honoured and simply amazed. (Is this a suggestion of Polidori himself and Lord Byron?) Initially, he enjoys the friendship, but the true nature of the creature begins to reveal itself. The vampire is cruel and greedy behind his seductive mask. Aubery begins to detest the creature, though he is still held in thrall by his domineering personality; he cannot escape and slowly goes insane. The vampire eventually sets his eyes on Aubery’s sister, and he is powerless to help her.
“Lord Ruthven had disappeared, and Aubrey’s sister has glutted the thirst of a Vampyre!”
So the plot was good, but it’s such a shame that Polidori wasn’t a better writer. The prose was awkward and clunky in places; it doesn’t have the beautiful flow of some of his peers e.g. Mary Shelley.
The tale begins with a vampire arriving in London; he catches the eyes of the citizens with his uniqueness. They are drawn to him like a moth to a flame; they are enamoured by his sharp, striking, eyes. Everyone wants to be with him, and they’re not fully sure why; it’s like a spell has been cast over all of them, one they cannot resist.
Aubery is shocked to discover that such a creature desires his company. He is honoured and simply amazed. (Is this a suggestion of Polidori himself and Lord Byron?) Initially, he enjoys the friendship, but the true nature of the creature begins to reveal itself. The vampire is cruel and greedy behind his seductive mask. Aubery begins to detest the creature, though he is still held in thrall by his domineering personality; he cannot escape and slowly goes insane. The vampire eventually sets his eyes on Aubery’s sister, and he is powerless to help her.
“Lord Ruthven had disappeared, and Aubrey’s sister has glutted the thirst of a Vampyre!”
So the plot was good, but it’s such a shame that Polidori wasn’t a better writer. The prose was awkward and clunky in places; it doesn’t have the beautiful flow of some of his peers e.g. Mary Shelley.
October 17, 2022
This is a short story published in 1819. I thought the background of this story is fascinating. In 1816, three friends spent the summer at Lake Geneva and decided to write ghost stories because the weather was cold and gloomy from volcanic eruption (The year without summer). As a result, we have The Vampyre and Frankenstein. 🙌
This is free to read: gutenberg.org, archive.org, Amazon
This is free to read: gutenberg.org, archive.org, Amazon
February 12, 2025
CALIFICACIÓN REAL: 3.5 estrellas
El vampiro no es más que un cuento o relato corto, y uno que es bastante simple, sea dicho de paso; lo que para algunos podría interpretarse como algo minúsculo o inferior. Pero, incluso con tal premisa, la presente obra marcó un hito de proporciones abismales para la literatura: la creación de la primera historia vampírica en occidente, tal como la conocemos hoy en día, es decir, la que se suele corresponder con la ya clásica y sombría figura del distinguido ser de alto abolengo, sediento de sangre femenina y virginal.
Ahora, considerando que estamos ante el planteamiento de una trama fundacional en cierto modo, la que aquí se nos presenta es bastante interesante e innovadora, por obvias razones. Y, si bien estoy consciente de que El vampiro es imprescindible para quienes disfrutamos del horror y de todas estas temáticas y vertientes afines, no es un título que se lo recomiende a todo el mundo. Digo esto, porque, aunque ostente una trama realmente atrapante y con un ritmo que fluye rápidamente, como lectura no es precisamente así de ágil ni ligera, ya que se le notan un poco los años encima, y comprendo perfectamente que esto es algo que con facilidad podría avasallar a más de alguno; pero, en cuanto a mí, fue una lectura que disfruté en todo su esplendor.
Su propuesta se centra principalmente en dos personajes: Aubrey, nuestro protagonista que logra establecer una cercanía o amistad con lord Ruthven, el otro personaje importante de esta historia, quien, además, es el misterioso y enigmático ser que le da título a esta historia. Este individuo suele en las personas con las que se rodea, y precisamente con esos ingredientes le dará sazón a la trama de este cuento.
Por otra parte, destaco de forma muy grata que aquí se tengan en cuenta las costumbres de aquellas épocas de antaño. Se representa correctamente su contexto histórico y la sociedad de aquel entonces, concordante con la historia y las situaciones presentadas.
De la misma manera, me gusta cómo se le empiezan a dar pinceladas al mito vampírico: que tras la ‘’muerte’’ de uno de estos seres, la identidad del afectado deba permanecer sin que nadie se entere del suceso por un año y un día; que su cuerpo tenga que ser dejado en algún sitio de gran altura antes de que el primer rayo de la luna toque dicho lugar, etc. Estos son pequeños esbozos de cosas que se desarrollarán de forma más efectiva y notoria en décadas posteriores a la publicación inicial de esta obra, pero que tienen sus bases a partir de lo que hemos visto en este relato, de forma fundacional.
Algo más que llamó mi atención es el hecho de que se le atribuya algo del folclore vampírico a los griegos, cuando ellos son afines a otra clase de cosmovisiones y criaturas. Esto es algo que se siente un poco raro, porque eso es más acorde con los países de Europa del Este, en lugar de Grecia.
Y bueno, también debo decir que, en cierta parte, se menciona a la zona italiana de Otranto. Entonces, ¿será esta una señal divina para que me apresure en leer El castillo de Otranto, de Horace Walpole, considerada como la primera novela gótica de la historia? Lo tomaré como un rotundo sí.
No obstante, tengo algunos reparos que agregar al respecto, por ende, debo confesar que nunca he sido simpatizante de los finales felices, clichés y cosas de ese estilo; pero, el final de El vampiro a todo eso. Aunque, de verdad que no lo menciono a modo de destacárselo, sino que por todo lo contrario, ya que no tiene propósito de ser como es. Es decir, ¿tener que esperar un año completo para casarte con alguien solo para que tu recién esposa se convierta en tu alimento? Bueno, puede que en la realidad eso sí que haya ocurrido de cierta manera, porque bien que podría ser una especie de alegoría analógica de cuando los hombres esperaban bastante tiempo por sus prometidas hasta llegar al tan ansiado momento de la luna de miel, en donde por fin podían desflorar a sus esposas. Por eso mismo, ¿era necesaria la boda para la trama? Tal macabro accionar podía haberse dado en cualquier momento previo a la boda o con otra mujer, como acostumbraba a hacer lord Ruthven. Esto no tiene ningún sentido ni aporte para la trama, más que por alguna supuesta intención escabrosa de fastidiar o de acabar con el linaje de los Aubrey, en caso de que se ignore el trasfondo anterior. De todas maneras, no es algo que se pueda justificar, ya que no hay una coherencia que sea lógica ni funcional al respecto; excepto por la justificación que traté de darle, pero que no me convence del todo.
Tampoco hay que descuidar el hecho de que este vampiro sea una supuesta representación del poeta lord Byron, como creo que leí en el prólogo de la edición que tengo de este título. Puede que, en la realidad, el autor, Polidori, se haya visto interesado en alguna mujer y que Byron hiciese de las suyas con ella o que la haya lastimado. Seguramente ese es el trasfondo real o la metáfora de toda esta lectura; o al menos lo otro que se me ocurre para darle un significado más allá de lo que aparenta.
Asimismo, durante algunos pasajes específicos de la historia, se hace más de una mención enfática sobre una peculiar daga, de la cual hasta su vaina encuentran; pero esta no es usada para nada. Yo pensé que podía tratarse de algún arma ceremonial o importante, que podría haber sido forjada para combatir en contra de los vampiros o algo así, pero no. Es un elemento totalmente innecesario y muy desperdiciado, ya que daba para cuestiones realmente interesantes al respecto; pero ni como MacGuffin se le da uso, exactamente como indiqué en la reseña de Historia de un muerto contada por él mismo a causa de una situación similar. Aun así, espero que aquella daga haya estado forjada en plata… Más encima, me acabo de dar cuenta de la tremenda burrada y aberración que acabo de escribir, pero que dejaré de forma íntegra en la reseña, para que sea más orgánica y auténtica; porque la plata es el talón de Aquiles de los licántropos, no el de los vampiros...
Sea como sea, los mejores momentos de El vampiro son durante la noche en los bosques griegos, anterior y posterior al desenlace de Ianthe; y también en la recta final, cuando va quedando muy poco plazo para la fecha límite del juramento. En esta última parte, se logra transmitir que ‘’empaticemos’’ un poco con el protagonista y con sus frustraciones, a pesar de la simplicidad que tiene y de la poca profundidad que carece como personaje principal; pero, el mismísimo lord Ruthven también sufre de tales carencias, aunque en su caso, eso es algo que podría ayudar en reforzarle un aura más misteriosa a su figura.
Pues, cuando se tiene a un personaje con cierta ambigüedad, eso es algo que puede convertirse en un arma de doble filo, tanto para bien como para mal. Sin embargo, en cuanto a Ruthven, me parece correcto que así sea, aunque dudo que su simplicidad haya sido concebida con tal propósito e intención.
En conclusión, hay que tener muy en cuenta que nos encontramos ante una de las obras más importantes para el horror, la cual, además, presenta una historia bastante buena y atrapante. Así que, mi calificación es de 3.5 estrellas. Y como anteriormente indiqué, puede que El vampiro no sea una obra que todos vayan a disfrutar, debido a su antigüedad; pero nos brinda muy buenas ambientaciones y lugares, junto con una trama que está muy bien hecha y contada; salvo por los reparos personales que tengo, pero que se le perdonan.
De todas maneras, no soy muy afín a las temáticas vampíricas, pero algún día terminaré lo iniciado acá, con Carmilla, de Sheridan Le Fanu; y Drácula, de Bram Stoker, entre otros.
Para otras reseñas de la colección Clásicos del terror, de editorial Planeta:
• 1) Historia de un muerto contada por él mismo, de Alexandre Dumas: https://www.goodreads.com/review/show...
• 2) El mortal inmortal, de Mary Shelley: https://www.goodreads.com/review/show...
• 3) La novia del espectro, de Washington Irving: https://www.goodreads.com/review/show...
• 4)El vampiro, de John Polidori
• 5) El cuento de la vieja niñera, de Elizabeth Gaskell: https://www.goodreads.com/review/show...
• 6) La marca de la bestia, de Rudyard Kipling: https://www.goodreads.com/review/show...
• 7) Markheim, de Robert Louis Stevenson: https://www.goodreads.com/review/show...
• 8) El modelo de Pickman, de Howard Phillips Lovecraft: https://www.goodreads.com/review/show...
• 9) La casa del juez, de Bram Stoker: https://www.goodreads.com/review/show...
• 10) La mujer alta, de Pedro Antonio de Alarcón: https://www.goodreads.com/review/show...
• 11) El convidado de las últimas fiestas, de Auguste de Villiers de L'Isle-Adam: https://www.goodreads.com/review/show...
• 12) El Horla, de Guy de Maupassant: https://www.goodreads.com/review/show...
El vampiro no es más que un cuento o relato corto, y uno que es bastante simple, sea dicho de paso; lo que para algunos podría interpretarse como algo minúsculo o inferior. Pero, incluso con tal premisa, la presente obra marcó un hito de proporciones abismales para la literatura: la creación de la primera historia vampírica en occidente, tal como la conocemos hoy en día, es decir, la que se suele corresponder con la ya clásica y sombría figura del distinguido ser de alto abolengo, sediento de sangre femenina y virginal.
Ahora, considerando que estamos ante el planteamiento de una trama fundacional en cierto modo, la que aquí se nos presenta es bastante interesante e innovadora, por obvias razones. Y, si bien estoy consciente de que El vampiro es imprescindible para quienes disfrutamos del horror y de todas estas temáticas y vertientes afines, no es un título que se lo recomiende a todo el mundo. Digo esto, porque, aunque ostente una trama realmente atrapante y con un ritmo que fluye rápidamente, como lectura no es precisamente así de ágil ni ligera, ya que se le notan un poco los años encima, y comprendo perfectamente que esto es algo que con facilidad podría avasallar a más de alguno; pero, en cuanto a mí, fue una lectura que disfruté en todo su esplendor.
Su propuesta se centra principalmente en dos personajes: Aubrey, nuestro protagonista que logra establecer una cercanía o amistad con lord Ruthven, el otro personaje importante de esta historia, quien, además, es el misterioso y enigmático ser que le da título a esta historia. Este individuo suele en las personas con las que se rodea, y precisamente con esos ingredientes le dará sazón a la trama de este cuento.
Por otra parte, destaco de forma muy grata que aquí se tengan en cuenta las costumbres de aquellas épocas de antaño. Se representa correctamente su contexto histórico y la sociedad de aquel entonces, concordante con la historia y las situaciones presentadas.
De la misma manera, me gusta cómo se le empiezan a dar pinceladas al mito vampírico: que tras la ‘’muerte’’ de uno de estos seres, la identidad del afectado deba permanecer sin que nadie se entere del suceso por un año y un día; que su cuerpo tenga que ser dejado en algún sitio de gran altura antes de que el primer rayo de la luna toque dicho lugar, etc. Estos son pequeños esbozos de cosas que se desarrollarán de forma más efectiva y notoria en décadas posteriores a la publicación inicial de esta obra, pero que tienen sus bases a partir de lo que hemos visto en este relato, de forma fundacional.
Algo más que llamó mi atención es el hecho de que se le atribuya algo del folclore vampírico a los griegos, cuando ellos son afines a otra clase de cosmovisiones y criaturas. Esto es algo que se siente un poco raro, porque eso es más acorde con los países de Europa del Este, en lugar de Grecia.
Y bueno, también debo decir que, en cierta parte, se menciona a la zona italiana de Otranto. Entonces, ¿será esta una señal divina para que me apresure en leer El castillo de Otranto, de Horace Walpole, considerada como la primera novela gótica de la historia? Lo tomaré como un rotundo sí.
No obstante, tengo algunos reparos que agregar al respecto, por ende, debo confesar que nunca he sido simpatizante de los finales felices, clichés y cosas de ese estilo; pero, el final de El vampiro a todo eso. Aunque, de verdad que no lo menciono a modo de destacárselo, sino que por todo lo contrario, ya que no tiene propósito de ser como es. Es decir, ¿tener que esperar un año completo para casarte con alguien solo para que tu recién esposa se convierta en tu alimento? Bueno, puede que en la realidad eso sí que haya ocurrido de cierta manera, porque bien que podría ser una especie de alegoría analógica de cuando los hombres esperaban bastante tiempo por sus prometidas hasta llegar al tan ansiado momento de la luna de miel, en donde por fin podían desflorar a sus esposas. Por eso mismo, ¿era necesaria la boda para la trama? Tal macabro accionar podía haberse dado en cualquier momento previo a la boda o con otra mujer, como acostumbraba a hacer lord Ruthven. Esto no tiene ningún sentido ni aporte para la trama, más que por alguna supuesta intención escabrosa de fastidiar o de acabar con el linaje de los Aubrey, en caso de que se ignore el trasfondo anterior. De todas maneras, no es algo que se pueda justificar, ya que no hay una coherencia que sea lógica ni funcional al respecto; excepto por la justificación que traté de darle, pero que no me convence del todo.
Tampoco hay que descuidar el hecho de que este vampiro sea una supuesta representación del poeta lord Byron, como creo que leí en el prólogo de la edición que tengo de este título. Puede que, en la realidad, el autor, Polidori, se haya visto interesado en alguna mujer y que Byron hiciese de las suyas con ella o que la haya lastimado. Seguramente ese es el trasfondo real o la metáfora de toda esta lectura; o al menos lo otro que se me ocurre para darle un significado más allá de lo que aparenta.
Asimismo, durante algunos pasajes específicos de la historia, se hace más de una mención enfática sobre una peculiar daga, de la cual hasta su vaina encuentran; pero esta no es usada para nada. Yo pensé que podía tratarse de algún arma ceremonial o importante, que podría haber sido forjada para combatir en contra de los vampiros o algo así, pero no. Es un elemento totalmente innecesario y muy desperdiciado, ya que daba para cuestiones realmente interesantes al respecto; pero ni como MacGuffin se le da uso, exactamente como indiqué en la reseña de Historia de un muerto contada por él mismo a causa de una situación similar. Aun así, espero que aquella daga haya estado forjada en plata… Más encima, me acabo de dar cuenta de la tremenda burrada y aberración que acabo de escribir, pero que dejaré de forma íntegra en la reseña, para que sea más orgánica y auténtica; porque la plata es el talón de Aquiles de los licántropos, no el de los vampiros...
Sea como sea, los mejores momentos de El vampiro son durante la noche en los bosques griegos, anterior y posterior al desenlace de Ianthe; y también en la recta final, cuando va quedando muy poco plazo para la fecha límite del juramento. En esta última parte, se logra transmitir que ‘’empaticemos’’ un poco con el protagonista y con sus frustraciones, a pesar de la simplicidad que tiene y de la poca profundidad que carece como personaje principal; pero, el mismísimo lord Ruthven también sufre de tales carencias, aunque en su caso, eso es algo que podría ayudar en reforzarle un aura más misteriosa a su figura.
Pues, cuando se tiene a un personaje con cierta ambigüedad, eso es algo que puede convertirse en un arma de doble filo, tanto para bien como para mal. Sin embargo, en cuanto a Ruthven, me parece correcto que así sea, aunque dudo que su simplicidad haya sido concebida con tal propósito e intención.
En conclusión, hay que tener muy en cuenta que nos encontramos ante una de las obras más importantes para el horror, la cual, además, presenta una historia bastante buena y atrapante. Así que, mi calificación es de 3.5 estrellas. Y como anteriormente indiqué, puede que El vampiro no sea una obra que todos vayan a disfrutar, debido a su antigüedad; pero nos brinda muy buenas ambientaciones y lugares, junto con una trama que está muy bien hecha y contada; salvo por los reparos personales que tengo, pero que se le perdonan.
De todas maneras, no soy muy afín a las temáticas vampíricas, pero algún día terminaré lo iniciado acá, con Carmilla, de Sheridan Le Fanu; y Drácula, de Bram Stoker, entre otros.
Para otras reseñas de la colección Clásicos del terror, de editorial Planeta:
• 1) Historia de un muerto contada por él mismo, de Alexandre Dumas: https://www.goodreads.com/review/show...
• 2) El mortal inmortal, de Mary Shelley: https://www.goodreads.com/review/show...
• 3) La novia del espectro, de Washington Irving: https://www.goodreads.com/review/show...
• 4)
• 5) El cuento de la vieja niñera, de Elizabeth Gaskell: https://www.goodreads.com/review/show...
• 6) La marca de la bestia, de Rudyard Kipling: https://www.goodreads.com/review/show...
• 7) Markheim, de Robert Louis Stevenson: https://www.goodreads.com/review/show...
• 8) El modelo de Pickman, de Howard Phillips Lovecraft: https://www.goodreads.com/review/show...
• 9) La casa del juez, de Bram Stoker: https://www.goodreads.com/review/show...
• 10) La mujer alta, de Pedro Antonio de Alarcón: https://www.goodreads.com/review/show...
• 11) El convidado de las últimas fiestas, de Auguste de Villiers de L'Isle-Adam: https://www.goodreads.com/review/show...
• 12) El Horla, de Guy de Maupassant: https://www.goodreads.com/review/show...
March 6, 2020
Bram Stoker no fue el primero en escribir sobre vampiros. Drácula tiene sus antecesores. Y el padre de todos ellos se llamó lord Ruthven, ya que increíblemente alguien como John Polidori, que no provenía del mundo de las letras sino que era médico, pertrechó esta historia escalofriante en 1819 y que surge como un desafío de su paciente, Lord Byron, el poeta más emblemático del romanticismo inglés junto con Percy Bysshe Shelley y la que sería su esposa, Mary Shelley (Goodwin por entonces) durante un encuentro en un castillo durante el verano de 1816 en Diodati, Ginebra.
El porte maléfico e hipnótico de lord Ruthven sería un modelo a seguir por varios autores, incluidos el máximo referente del romanticismo alemán, E.T.A. Hoffmann con su cuento “Vampirismo” en 1821 y por Joseph Sheridan Le Fanu con “Carmilla”, publicada en 1872 con la aparición de la primera mujer vampiro de esta eterna y oscura saga de chupadores de sangre.
Fue recién en 1897 cuando Bram Stoker publica “Drácula”, que se erigiría como el mejor vampiro de todos los tiempos.
Volviendo a “El vampiro”, de Polidori, uno reconoce que el autor supo disponer de la tensión necesaria para contarnos la historia de la relación entre el oscuro lord Ruthven y el joven Aubrey.
El final es como todo el cuento: intenso. En este relato también aparece por primera vez el término “vampiro”.
Hay que remontarse muchos siglos atrás para encontrarnos con estos seres sobrenaturales pero es a partir de Polidori que la palabra se “moderniza” para transformarse en un término habitual entre los lectores.
Excelente cuento el de Polidori por ser el puntapié inicial de todo lo que conoceríamos después en este género.
El porte maléfico e hipnótico de lord Ruthven sería un modelo a seguir por varios autores, incluidos el máximo referente del romanticismo alemán, E.T.A. Hoffmann con su cuento “Vampirismo” en 1821 y por Joseph Sheridan Le Fanu con “Carmilla”, publicada en 1872 con la aparición de la primera mujer vampiro de esta eterna y oscura saga de chupadores de sangre.
Fue recién en 1897 cuando Bram Stoker publica “Drácula”, que se erigiría como el mejor vampiro de todos los tiempos.
Volviendo a “El vampiro”, de Polidori, uno reconoce que el autor supo disponer de la tensión necesaria para contarnos la historia de la relación entre el oscuro lord Ruthven y el joven Aubrey.
El final es como todo el cuento: intenso. En este relato también aparece por primera vez el término “vampiro”.
Hay que remontarse muchos siglos atrás para encontrarnos con estos seres sobrenaturales pero es a partir de Polidori que la palabra se “moderniza” para transformarse en un término habitual entre los lectores.
Excelente cuento el de Polidori por ser el puntapié inicial de todo lo que conoceríamos después en este género.
May 30, 2021
"The Vampyre" is a very short work, scarcely more than 20 pages, but contains a novel's worth of intrigue and horror. The dark atmosphere, taste for female blood, and demonic powers of the titular monster are just a few of the signature qualities that Bram Stoker stole and perfected. The short length does leave much to the imagination, which is possibly what makes it so terrifying.
The vampyre, Lord Ruthven, is expertly introduced in the first pages. We learn that anyone near him feels strange sensations that are both unnerving and compelling. Women who get too close soon act like harlots, even if they're married. His laugh is outwardly pleasant, but inwardly frightening. What we don't know is the full extent of his powers, his origins, or what precisely motivates him. Marks on his victims, such as bites on the neck and breast, suggest a taste for blood--but it's not stated as explicitly as that. By the end we are almost certain that such monstrosities exist, but are equally uncertain about how to spot one or prevent certain death when you do.
Prior to Dracula, vampires were largely urban legends whose existence spread in the oral tradition. Rules around their powers and limitations were not established and varied drastically depending on the storyteller. Polidori seems to intentionally play with that lore, offering enough plausible details to spark the imagination, without going so far as to establish any steadfast vampiric rules.
Horror scholars and vampire enthusiasts would be amiss to not be familiar with this classic. Hard to believe that it was published 80 years before Dracula and was not the only literary masterwork to be drafted while a group of writers, bored on a rainy day, challenged each other to write ghost stories to pass the time. Those in attendance included Mary Shelley, Percy Shelley, Lord Byron and John Polidori. Mary Shelley would begin Frankenstein during the contest while Lord Byron wrote a draft of this story, which Polidori adapted and ultimately published.
Frankenstein and a story that inspired Dracula both originated on the same night?? Literary history doesn’t get much better than that.
It appears "The Vampyre" is commonly anthologized and also available as a stand-alone. Given it’s in the public domain, I’m sure it’s also easy to read for free online. If anybody has read this or decides to give it a try, please leave a comment! I’m obsessed and would love to chat more about it.
The vampyre, Lord Ruthven, is expertly introduced in the first pages. We learn that anyone near him feels strange sensations that are both unnerving and compelling. Women who get too close soon act like harlots, even if they're married. His laugh is outwardly pleasant, but inwardly frightening. What we don't know is the full extent of his powers, his origins, or what precisely motivates him. Marks on his victims, such as bites on the neck and breast, suggest a taste for blood--but it's not stated as explicitly as that. By the end we are almost certain that such monstrosities exist, but are equally uncertain about how to spot one or prevent certain death when you do.
Prior to Dracula, vampires were largely urban legends whose existence spread in the oral tradition. Rules around their powers and limitations were not established and varied drastically depending on the storyteller. Polidori seems to intentionally play with that lore, offering enough plausible details to spark the imagination, without going so far as to establish any steadfast vampiric rules.
Horror scholars and vampire enthusiasts would be amiss to not be familiar with this classic. Hard to believe that it was published 80 years before Dracula and was not the only literary masterwork to be drafted while a group of writers, bored on a rainy day, challenged each other to write ghost stories to pass the time. Those in attendance included Mary Shelley, Percy Shelley, Lord Byron and John Polidori. Mary Shelley would begin Frankenstein during the contest while Lord Byron wrote a draft of this story, which Polidori adapted and ultimately published.
Frankenstein and a story that inspired Dracula both originated on the same night?? Literary history doesn’t get much better than that.
It appears "The Vampyre" is commonly anthologized and also available as a stand-alone. Given it’s in the public domain, I’m sure it’s also easy to read for free online. If anybody has read this or decides to give it a try, please leave a comment! I’m obsessed and would love to chat more about it.
June 5, 2026
the curtain rises.
my eyes are open, but i have no words. only trembling hands, an uneven heartbeat in my chest and a gaze nailed to the white screen.
as the heavy voice of the cello echoes through the darkness, i become aubrey in the middle of that vast silence.
the world on the screen doesn't look as it should. the shadows are too long, the corridors too narrow, the faces too pale. it is as though someone has bent reality out of shape and revealed the architecture of a nightmare beneath it. then a figure enters the frame and the theatre grows darker still.
a few words emerge from the darkness:
"the seal upon my lips is the noose around my soul."
the words disappear.
the screen brightens once more. but when the images return, i've the uneasy feeling that one of the seats in the theatre is no longer empty.
then the frame tilts.
a silhouette tears itself free from the shadows. they call him lord ruthven, but i see another face. dracula hasn't yet been born and yet the ghost of bela lugosi is already wandering across the screen.
the closer the camera moves, the less his face grows and the more his shadow expands. as though the darkness woven into the film has finally found a face of its own.
we've no dialogue. only his eyes. and each time they fall upon me, another corner of the screen seems to tear away.
suddenly, the scene changes.
on one side stands innocence, on the other its shadow. i'm trapped between them. i see the monster, yet i cannot name it. i see the catastrophe, yet i cannot prevent it.
the closer the camera comes to my face, the larger my fear becomes. the darkness of the theatre bends over me.
then another sentence appears upon the screen:
"i shook the murderer's hand and signed this mute curse with my own blood."
and then the moment i've been waiting for arrives.
at last, i can speak.
but there is nothing left to tell.
the disaster has already happened.
the screen begins to darken. the shadows lengthen. the walls bend once more.
in the final frame, i see his face.
no.
perhaps only his smile.
the film ends. the lights come up. the audience rise from their seats.
but i still cannot shake the feeling that the row behind me is no longer empty.
●
perde açılıyor.
gözlerim açık ama kelimelerim yok. yalnızca titreyen ellerim, göğsümde düzensiz atan kalbim ve beyaz perdeye çivilenmiş bakışlarım var.
viyolonselin ağır sesi karanlığın içinde yankılanırken, ben o büyük sessizliğin ortasında aubrey oldum.
ekrandaki dünya olması gerektiği gibi görünmüyor. gölgeler fazla uzun, koridorlar fazla dar, yüzler fazla solgun. sanki biri gerçekliği eğip bükmüş ve ortaya bir kâbusun mimarisini çıkarmış. tam o sırada kadraja bir figür giriyor ve salon biraz daha kararıyor.
karanlığın içinden birkaç kelime beliriyor:
"dudaklarıma vurulan mühür, ruhumun boynundaki ilmiktir."
yazı kayboluyor.
perde yeniden aydınlanıyor. fakat görüntüler geri döndüğünde, salondaki koltuklardan birinin artık boş olmadığını hissediyorum.
sonra kadraj eğiliyor.
gölgenin içinden bir siluet kopup geliyor. ona lord ruthven diyorlar fakat ben başka bir yüz görüyorum. henüz dracula doğmamış olsa da, beyaz perdenin üzerinde çoktan bela lugosi'nin hayaleti dolaşıyor.
kamera yaklaştıkça yüzü büyümüyor, gölgesi büyüyor. sanki filmin içine sinmiş karanlık nihayet bir yüz buluyor.
repliklerimiz yok. yalnızca bakışları var. o bakışlar üzerime her düştüğünde, perdenin bir köşesi biraz daha yırtılıyor.
sahne birden değişiyor.
bir tarafta masumiyet duruyor, diğer tarafta onun gölgesi. ben ikisinin arasında sıkışıp kalıyorum. canavarı görüyorum ancak ona bir isim veremiyorum. felaketi görüyorum ancak ona engel olamıyorum.
kamera yüzüme yaklaştıkça gözlerim değil, korkum büyüyor. salonun karanlığı üzerime doğru eğiliyor.
derken perdeye yeni bir cümle düşüyor:
"katilin elini sıktım ve bu dilsiz lanete kendi kanımla imza attım."
ve sonra beklediğim an geliyor.
nihayet konuşabilirim.
fakat anlatılacak hiçbir şey kalmadı.
felaket çoktan gerçekleşti.
perde kararmaya başlıyor. gölgeler uzuyor. duvarlar yeniden eğiliyor.
son karede onun yüzünü görüyorum.
hayır.
belki yalnızca gülümsemesini.
film bitiyor. ışıklar yanıyor. seyirciler koltuklarından kalkıyor.
ama arkamdaki sıranın hâlâ boş olmadığını hissediyorum.
my eyes are open, but i have no words. only trembling hands, an uneven heartbeat in my chest and a gaze nailed to the white screen.
as the heavy voice of the cello echoes through the darkness, i become aubrey in the middle of that vast silence.
the world on the screen doesn't look as it should. the shadows are too long, the corridors too narrow, the faces too pale. it is as though someone has bent reality out of shape and revealed the architecture of a nightmare beneath it. then a figure enters the frame and the theatre grows darker still.
a few words emerge from the darkness:
"the seal upon my lips is the noose around my soul."
the words disappear.
the screen brightens once more. but when the images return, i've the uneasy feeling that one of the seats in the theatre is no longer empty.
then the frame tilts.
a silhouette tears itself free from the shadows. they call him lord ruthven, but i see another face. dracula hasn't yet been born and yet the ghost of bela lugosi is already wandering across the screen.
the closer the camera moves, the less his face grows and the more his shadow expands. as though the darkness woven into the film has finally found a face of its own.
we've no dialogue. only his eyes. and each time they fall upon me, another corner of the screen seems to tear away.
suddenly, the scene changes.
on one side stands innocence, on the other its shadow. i'm trapped between them. i see the monster, yet i cannot name it. i see the catastrophe, yet i cannot prevent it.
the closer the camera comes to my face, the larger my fear becomes. the darkness of the theatre bends over me.
then another sentence appears upon the screen:
"i shook the murderer's hand and signed this mute curse with my own blood."
and then the moment i've been waiting for arrives.
at last, i can speak.
but there is nothing left to tell.
the disaster has already happened.
the screen begins to darken. the shadows lengthen. the walls bend once more.
in the final frame, i see his face.
no.
perhaps only his smile.
the film ends. the lights come up. the audience rise from their seats.
but i still cannot shake the feeling that the row behind me is no longer empty.
●
perde açılıyor.
gözlerim açık ama kelimelerim yok. yalnızca titreyen ellerim, göğsümde düzensiz atan kalbim ve beyaz perdeye çivilenmiş bakışlarım var.
viyolonselin ağır sesi karanlığın içinde yankılanırken, ben o büyük sessizliğin ortasında aubrey oldum.
ekrandaki dünya olması gerektiği gibi görünmüyor. gölgeler fazla uzun, koridorlar fazla dar, yüzler fazla solgun. sanki biri gerçekliği eğip bükmüş ve ortaya bir kâbusun mimarisini çıkarmış. tam o sırada kadraja bir figür giriyor ve salon biraz daha kararıyor.
karanlığın içinden birkaç kelime beliriyor:
"dudaklarıma vurulan mühür, ruhumun boynundaki ilmiktir."
yazı kayboluyor.
perde yeniden aydınlanıyor. fakat görüntüler geri döndüğünde, salondaki koltuklardan birinin artık boş olmadığını hissediyorum.
sonra kadraj eğiliyor.
gölgenin içinden bir siluet kopup geliyor. ona lord ruthven diyorlar fakat ben başka bir yüz görüyorum. henüz dracula doğmamış olsa da, beyaz perdenin üzerinde çoktan bela lugosi'nin hayaleti dolaşıyor.
kamera yaklaştıkça yüzü büyümüyor, gölgesi büyüyor. sanki filmin içine sinmiş karanlık nihayet bir yüz buluyor.
repliklerimiz yok. yalnızca bakışları var. o bakışlar üzerime her düştüğünde, perdenin bir köşesi biraz daha yırtılıyor.
sahne birden değişiyor.
bir tarafta masumiyet duruyor, diğer tarafta onun gölgesi. ben ikisinin arasında sıkışıp kalıyorum. canavarı görüyorum ancak ona bir isim veremiyorum. felaketi görüyorum ancak ona engel olamıyorum.
kamera yüzüme yaklaştıkça gözlerim değil, korkum büyüyor. salonun karanlığı üzerime doğru eğiliyor.
derken perdeye yeni bir cümle düşüyor:
"katilin elini sıktım ve bu dilsiz lanete kendi kanımla imza attım."
ve sonra beklediğim an geliyor.
nihayet konuşabilirim.
fakat anlatılacak hiçbir şey kalmadı.
felaket çoktan gerçekleşti.
perde kararmaya başlıyor. gölgeler uzuyor. duvarlar yeniden eğiliyor.
son karede onun yüzünü görüyorum.
hayır.
belki yalnızca gülümsemesini.
film bitiyor. ışıklar yanıyor. seyirciler koltuklarından kalkıyor.
ama arkamdaki sıranın hâlâ boş olmadığını hissediyorum.
December 18, 2022
The first novel about a vampire in English literature, The Vampire is short and repetitive. The protagonist is a bit of a twit too, because he doesn't realize what's happening to all the young, beautiful girls that he knows until it's too late.
Polidori was the first to write of the bloodsuckers so I gave him a star for that alone. More interesting than this story is the tale of its genesis in the year without a summer in Lord Byron's vacation villa.
Polidori was the first to write of the bloodsuckers so I gave him a star for that alone. More interesting than this story is the tale of its genesis in the year without a summer in Lord Byron's vacation villa.
This entire review has been hidden because of spoilers.
July 16, 2019
Believe it or not.... this real oldie of a vampyre tale has no bloody gore. First published in 1819, it provides a very interesting introduction pertaining to historic vampyre beliefs around the world, one I had never heard, about how to rid yourself of the evil.
THE VAMPYRE is also a product of the competition that produced Mary Shelley's FRANKENSTEIN.
As the story begins, we first meet Aubrey, a handsome recently orphaned and now wealthy young man and his only sister....ready to come out. Not a fan of society parties, Aubrey leaves his sister in the hands of guardians and heads off in search of antiquities with a curious new traveling companion, Lord Ruthven.
When evil shows its ugly face, Aubrey parts ways with the Lord....but that's not the last he sees of the strange man with the dead grey eye and alluring presence.
A bit of a love story, and a warning from the dead "Remember your oath" makes for a great classic end.
May 31, 2026
'The Vampyre' is a quite entertaining 19th-century gothic novella, the first vampire story ever written. It follows Aubry, a wealthy young gentleman, who, out of naivety, has the misfortune to get attracted to a mysterious man.
February 28, 2021
Se dice que Polidori descargó en el relato todo el odio y desamor que sentía por Byron, al utilizarlo como modelo para el vampiro de la historia.
El gran aporte de Polidori a la temática de vampiros fue convertir a este ser en un personaje reconocido, de la aristocracia, hecho que influyó de manera determinante en la fijación del mito años después por parte de Le Fanu, Dumas o Stoker y su ‘Drácula’).
Me gustó que, pese a lo breve que es, plantea una historia muy interesante con un villano bastante desasosegante (mucho más si se analiza desde el punto de vista de las vivencias de Polidori con Byron). Además, su final es muy efectivo, a pesar de que sea previsible. Me parece una lectura perfecta para una tarde en la que apetezca algo oscuro y terrorífico.
RESEÑA COMPLETA: https://www.youtube.com/watch?v=fBp4s...
El gran aporte de Polidori a la temática de vampiros fue convertir a este ser en un personaje reconocido, de la aristocracia, hecho que influyó de manera determinante en la fijación del mito años después por parte de Le Fanu, Dumas o Stoker y su ‘Drácula’).
Me gustó que, pese a lo breve que es, plantea una historia muy interesante con un villano bastante desasosegante (mucho más si se analiza desde el punto de vista de las vivencias de Polidori con Byron). Además, su final es muy efectivo, a pesar de que sea previsible. Me parece una lectura perfecta para una tarde en la que apetezca algo oscuro y terrorífico.
RESEÑA COMPLETA: https://www.youtube.com/watch?v=fBp4s...
November 8, 2018
One of the earliest vampire tales ever! I really enjoyed this romantic story. At first Aubrey admires Lord Ruthven and follows him through Europe. Then things turn and the vampire starts haunting the main character. While reading it I sensed that this story had influence on Bram Stoker. Certain aspects of Lord Ruthven can be found again in Dracula. The Vampyre is a groundbreaking work worth reading. Even if some settings or behaviours seem to be dated to us modern readers it has some eerie moment. I can recommend its read!
October 27, 2022
Review of free Kindle edition
A Public Domain Book
Publication date: May 12, 2012
Language: English
ASIN: B0082U0CS0
65 pages
Long misattributed to Lord Byron this story was actually written by his then friend and personal physician, John Polidori. It was wriiten during the same time frame as Mary Wollstonecraft's FRANKENSTEIN. Both were written as a result of Byron's suggestion that each of the group at his Swiss villa write a ghost story. He himself wrote a story fragment then gave up on it. Polidori used the fragment to write THE VAMPYRE, A TALE.
THE VAMPYRE was the first vampire tale written in English and the first to use the now familiar trope of the aristocratic creature of the night. It is considered to be the progenitor of the modern romantic vampire story. It was first published in 1819 without Polidori's permission and misattributed to Lord Byron, The story never achieved the success of FRANKENSTEIN for good reason - it just isn't as good. Neither as entertainment nor as a delving into philosophy and theology. However, fans of vampire stories should probably read it as it is the story which started the whole thing.
A Public Domain Book
Publication date: May 12, 2012
Language: English
ASIN: B0082U0CS0
65 pages
Long misattributed to Lord Byron this story was actually written by his then friend and personal physician, John Polidori. It was wriiten during the same time frame as Mary Wollstonecraft's FRANKENSTEIN. Both were written as a result of Byron's suggestion that each of the group at his Swiss villa write a ghost story. He himself wrote a story fragment then gave up on it. Polidori used the fragment to write THE VAMPYRE, A TALE.
THE VAMPYRE was the first vampire tale written in English and the first to use the now familiar trope of the aristocratic creature of the night. It is considered to be the progenitor of the modern romantic vampire story. It was first published in 1819 without Polidori's permission and misattributed to Lord Byron, The story never achieved the success of FRANKENSTEIN for good reason - it just isn't as good. Neither as entertainment nor as a delving into philosophy and theology. However, fans of vampire stories should probably read it as it is the story which started the whole thing.
December 19, 2016
While the story itself is intriguing, the way it is told is so boring. That's why I try and avoid classics most of the time. I prefer something fast-paced, or something that (at least) doesn't make me fall asleep. Old authors had a way about descriptions and making the most exciting things appear soulless.
I felt nothing for Lord Ruthven, just as I felt nothing for Aubrey. And why did Ruthven leave Aubrey alive? All the mental torture did nothing for me. I could not see the vampire's reasons, nor did I understand the man's inability.
Meh! Not for me.
July 18, 2022
The Vampyre by John Polidori is one of those stories I wanted to read probably since I read Frankenstein about two years ago. For some reason I never gave it a go until now, and I must confess it was by no means the reading experience I was expecting.
I do understand its importance, though. I can tell it was one of the first gothic stories ever written, and the first vampire story in English literature; however, we shouldn't read this book with the idea we currently have about vampires because the experience might be really different, perhaps disappointing after all, and yet I believe The Vampyre might somehow live up to anyone's expectations. Unfortunately, I'm not a part of those people who very much enjoyed reading this book, and even when I read it twice in a row—once I finished it the first time I was like "what did I just read?," and the second time it was more like "well, I liked it a little bit more this time, but I'm still missing something"—I couldn't feel anything but disappointment.
Please don't get me wrong, I still believe this is a good story, however, I am almost sure the problem was not only me, but also the book; for instance, when it comes to gothic literature I was used to reading powerful, compelling stories, such as The Monk or Frankenstein, whereas The Vampyre was somewhat simple, probably a story without a real purpose or direction. Now, Polidori's narrative was beautiful and easy to read to a certain point, and that actually reminded me of my previous experience reading, for example, The Monk—the best gothic novel I've read so far—since made me feel interested both in the plot and in the characters, but again, the story of Lord Ruthven as the first literary vampire didn't say anything new to me.
Perhaps the main problem for me was the fact that the story is too short and everything is happening too fast, therefore I couldn't see a deep development of the characters, and also the plot was boring at times. Having said that, there were two things I truly loved: the atmosphere and the ending. The atmosphere was the typical one you can find in a really good gothic novel, a gloomy, dark, ominous atmosphere that is constantly making you feel 'terrified' (it's not like watching a good horror movie, that's a different thing); as for the ending, it was, in my view, the best part of the book, since we have indeed a pure, typical gothic ending—the only moment I couldn't put the book down—that tells you what's going on with every character, leaving the reader almost without any questions beyond what has happened.
All in all, The Vampyre is a 3-star book for me, as I did like some parts of the story but I also didn't like some other things that nonetheless might be interesting for other readers. I hope you guys enjoy it more than I did, and just in case: this is absolutely not a bad story, but it is a story that, subjectivity speaking, didn't give me almost anything new.
But why attempt to describe charms which all feel, but none can appreciate? -- It was innocence, youth, and beauty, unaffected by crowded drawing-rooms and stifling balls.
I do understand its importance, though. I can tell it was one of the first gothic stories ever written, and the first vampire story in English literature; however, we shouldn't read this book with the idea we currently have about vampires because the experience might be really different, perhaps disappointing after all, and yet I believe The Vampyre might somehow live up to anyone's expectations. Unfortunately, I'm not a part of those people who very much enjoyed reading this book, and even when I read it twice in a row—once I finished it the first time I was like "what did I just read?," and the second time it was more like "well, I liked it a little bit more this time, but I'm still missing something"—I couldn't feel anything but disappointment.
Please don't get me wrong, I still believe this is a good story, however, I am almost sure the problem was not only me, but also the book; for instance, when it comes to gothic literature I was used to reading powerful, compelling stories, such as The Monk or Frankenstein, whereas The Vampyre was somewhat simple, probably a story without a real purpose or direction. Now, Polidori's narrative was beautiful and easy to read to a certain point, and that actually reminded me of my previous experience reading, for example, The Monk—the best gothic novel I've read so far—since made me feel interested both in the plot and in the characters, but again, the story of Lord Ruthven as the first literary vampire didn't say anything new to me.
Perhaps the main problem for me was the fact that the story is too short and everything is happening too fast, therefore I couldn't see a deep development of the characters, and also the plot was boring at times. Having said that, there were two things I truly loved: the atmosphere and the ending. The atmosphere was the typical one you can find in a really good gothic novel, a gloomy, dark, ominous atmosphere that is constantly making you feel 'terrified' (it's not like watching a good horror movie, that's a different thing); as for the ending, it was, in my view, the best part of the book, since we have indeed a pure, typical gothic ending—the only moment I couldn't put the book down—that tells you what's going on with every character, leaving the reader almost without any questions beyond what has happened.
All in all, The Vampyre is a 3-star book for me, as I did like some parts of the story but I also didn't like some other things that nonetheless might be interesting for other readers. I hope you guys enjoy it more than I did, and just in case: this is absolutely not a bad story, but it is a story that, subjectivity speaking, didn't give me almost anything new.
But why attempt to describe charms which all feel, but none can appreciate? -- It was innocence, youth, and beauty, unaffected by crowded drawing-rooms and stifling balls.
July 19, 2026
“The great object of life is sensation- to feel that we exist, even though in pain.”
-Lord Byron
John Polidori's story "The Vampyre" is a really tough nut to crack, digest and adequately appreciate for all sorts of reasons.
In its essence it is a short supernatural, horror story first published in 1819.
But, it is the origin of the story that sparks even great interest than the actual plot.
John Polidori was a close friend and personal physician of Lord George Gordon Byron and in that capacity had travelled with him extensively across Europe.
One such occasion was a famous "gathering" in May/June 1816 in Switzerland where were also attending Percy Shelley with his wife Mary and her sister. They amused themselves by sharing scary stories and eventually agreed that everyone should write a horror story. We all know that in 1818 "Frankenstein" by Mary Shelley was published and changed the literature forever.
"The Vampyre" had a bit of a difficult path, right from the beginning. Soon after the time spent in Switzerland, Lord Byron and Polidori parted their ways. Byron made some initial work on a story and Polidori continued working on it over the next couple of years.
Finally in 1819 the story was published in "The New Monthly Magazine", but Lord Byron was credited as the author. He did renounce the authorship and Polidori's name was attached to it. However, he died very soon afterwards, aged only 25.
What is "The Vampyre" about?
We follow the adventures of Aubrey (a wealthy orphan) who meets the notorious Lord Ruthven and becomes mesmerized by him. Even though he is warned about Lord's wicked ways he pays no attention and starts travelling with him across Europe. Sounds familiar?
Italy, Greece... tragedies occur along the way and they part ways. After an incident the mysterious, deadly-charming Lord is presumed dead...only to reappear a year later and strike with even greater venom, causing Aubrey the ultimate suffering...
So, that is basically what happens. Not really much to tell.
I must say that I didn't enjoy "The Vampyre".
Actually, due to its extremely dense prose, way too long sentences and overall Polidori's lack of talent for writing, I had to resort to the audiobook in order to finish it.
Classic literature is my favorite genre, but this one was just way too much for me.
Border line unreadable!
The story itself is neither atmospheric, nor dramatic. It's not scary either.
It is significant for developing some of the well known and most explored "vampiric" tropes : aristocratic, sophisticated vampire who hunts for beautiful young women, vampire's evil ways in dealing with people and so on.
As such the story is important as a stepping stone for much better later works.
I have hard time recommending it for it's neither interesting nor well written, but I am also aware that it forms a base of a whole sub-genre of gothic horror and as such is very relevant even today.
Maybe you will like it better?
-Lord Byron
John Polidori's story "The Vampyre" is a really tough nut to crack, digest and adequately appreciate for all sorts of reasons.
In its essence it is a short supernatural, horror story first published in 1819.
But, it is the origin of the story that sparks even great interest than the actual plot.
John Polidori was a close friend and personal physician of Lord George Gordon Byron and in that capacity had travelled with him extensively across Europe.
One such occasion was a famous "gathering" in May/June 1816 in Switzerland where were also attending Percy Shelley with his wife Mary and her sister. They amused themselves by sharing scary stories and eventually agreed that everyone should write a horror story. We all know that in 1818 "Frankenstein" by Mary Shelley was published and changed the literature forever.
"The Vampyre" had a bit of a difficult path, right from the beginning. Soon after the time spent in Switzerland, Lord Byron and Polidori parted their ways. Byron made some initial work on a story and Polidori continued working on it over the next couple of years.
Finally in 1819 the story was published in "The New Monthly Magazine", but Lord Byron was credited as the author. He did renounce the authorship and Polidori's name was attached to it. However, he died very soon afterwards, aged only 25.
What is "The Vampyre" about?
We follow the adventures of Aubrey (a wealthy orphan) who meets the notorious Lord Ruthven and becomes mesmerized by him. Even though he is warned about Lord's wicked ways he pays no attention and starts travelling with him across Europe. Sounds familiar?
Italy, Greece... tragedies occur along the way and they part ways. After an incident the mysterious, deadly-charming Lord is presumed dead...only to reappear a year later and strike with even greater venom, causing Aubrey the ultimate suffering...
So, that is basically what happens. Not really much to tell.
I must say that I didn't enjoy "The Vampyre".
Actually, due to its extremely dense prose, way too long sentences and overall Polidori's lack of talent for writing, I had to resort to the audiobook in order to finish it.
Classic literature is my favorite genre, but this one was just way too much for me.
Border line unreadable!
The story itself is neither atmospheric, nor dramatic. It's not scary either.
It is significant for developing some of the well known and most explored "vampiric" tropes : aristocratic, sophisticated vampire who hunts for beautiful young women, vampire's evil ways in dealing with people and so on.
As such the story is important as a stepping stone for much better later works.
I have hard time recommending it for it's neither interesting nor well written, but I am also aware that it forms a base of a whole sub-genre of gothic horror and as such is very relevant even today.
Maybe you will like it better?
September 28, 2022
The Vampyre is a classic, gothic horror, short story originally published in 1819 written by John William Polidori based on a tale told by Lord Byron on that historic weekend with Percy and Mary Shelley that gave birth to several monster mythologies. Here, the main character, Aubrey, meets Lord Ruthven in London and becomes fast friends with him. They decide to travel Europe together, but when Lord Ruthven seduces the underage daughter of a mutual friend, Aubrey is scandalized and decides to continue his travels without Lord Ruthven. When Aubrey arrives in Greece, he falls in love with Ianthe who educates him about the folkloric elements on which the vampire legends are based. When Lord Ruthven arrives in Greece, horrific things begin to happen. There is more, but I will not communicate any further story beats. The book is short so there really is not much more to tell, other than what makes this tale significant is that it gathers much of the vampire lore into a cohesive plot that would be emulated many times into the present. Classic because it satisfies all three criteria: longevity, paradigm shift, and exceptionalism.
October 9, 2025
GOTHIC. 🕯️ PSYCHOLOGICAL. 🧠 ATMOSPHERIC. 🌑 Written in 1819, this little story gave us the first aristocratic vampire written in English prose—all atmosphere, paranoia, and Gothic bite.
A very short story, but with a surprising amount of impact. I found it highly entertaining and fascinating, not only for what’s on the page, but also for what it led me to explore afterwards. Learning about the wild origins of this tale, the real people behind it, and the scandalous relationships that inspired it makes it even more compelling.
Written in the early 19th century, the style is both strange and captivating: breathless run-on sentences that feel like some of the longest I’ve ever read, dialogue marked by stacked hyphens and quotation marks, and even the occasional archaic word (for me, one of them was “conductress”) that makes you stop and puzzle it out / pull out your dictionary. It’s chaotic, but distinctly Gothic, and it gives the story much of its charm.
I throughly enjoyed the atmosphere: An aristocratic predator moves easily through society while a naive traveler becomes increasingly trapped—dazzled, silenced by an oath of secrecy, and unable to act while the danger tightens around him. There’s a nasty streak of retaliation after a key interference, and an unnerving sense that identities can be slipped off and re-entered, which keeps the dread simmering without relying on gore. It leans heavily into paranoia, exile, and psychological torment, which feels very much in line with the Gothic preoccupation with madness and social ruin. It reminded me less of the modern blood-and-fangs stereotype and more of old black-and-white horror films, where atmosphere and inevitability are the real killers.
For such a short piece, it leaves a deep impression. The Vampyre is the prototype of the aristocratic vampire, and in its brevity it laid the groundwork for Carmilla (1872) and Dracula (1897). Short and sweet, rich with Gothic vibes, and a great starting point for vampire literature. I find it wonderful that even a story this small can still carry weight two centuries later. 🧛🏻♂️
A very short story, but with a surprising amount of impact. I found it highly entertaining and fascinating, not only for what’s on the page, but also for what it led me to explore afterwards. Learning about the wild origins of this tale, the real people behind it, and the scandalous relationships that inspired it makes it even more compelling.
Written in the early 19th century, the style is both strange and captivating: breathless run-on sentences that feel like some of the longest I’ve ever read, dialogue marked by stacked hyphens and quotation marks, and even the occasional archaic word (for me, one of them was “conductress”) that makes you stop and puzzle it out / pull out your dictionary. It’s chaotic, but distinctly Gothic, and it gives the story much of its charm.
I throughly enjoyed the atmosphere: An aristocratic predator moves easily through society while a naive traveler becomes increasingly trapped—dazzled, silenced by an oath of secrecy, and unable to act while the danger tightens around him. There’s a nasty streak of retaliation after a key interference, and an unnerving sense that identities can be slipped off and re-entered, which keeps the dread simmering without relying on gore. It leans heavily into paranoia, exile, and psychological torment, which feels very much in line with the Gothic preoccupation with madness and social ruin. It reminded me less of the modern blood-and-fangs stereotype and more of old black-and-white horror films, where atmosphere and inevitability are the real killers.
For such a short piece, it leaves a deep impression. The Vampyre is the prototype of the aristocratic vampire, and in its brevity it laid the groundwork for Carmilla (1872) and Dracula (1897). Short and sweet, rich with Gothic vibes, and a great starting point for vampire literature. I find it wonderful that even a story this small can still carry weight two centuries later. 🧛🏻♂️
December 11, 2024
3,5/5
🧛🏻♂️🧛🏻♂️🧛🏻♂️
Terminado en noviembre de 2024
… la gente había observado que aquellos que se atrevían a negar la existencia del vampiro siempre obtenían alguna prueba que, con gran dolor y penosos castigos, les obligaba a reconocer su existencia
Se considera que esta obra de John William Polidori (1795-1821) crea el arquetipo del vampiro romántico que, inspirará obras como Carmille, de Sheridan Le Fanu, El vampiro, de Alejandro Dumas o Berenice, de Edgar Allan Poe, entre otros. Polidori escribió su novela a partir de las reuniones en Villa Diodati de junio de 1816, junto con Lord Byron, Percy Shelley y Mary Shelley, fruto de las que también saldría la archiconocida Frankenstein o el moderno Prometeo, de Mary Shelley. Se dice que Polidori utilizó parte del material que el propio Lord Byron había desechado, y del que era su médico personal.
En la obra se nos presenta al vampiro (Lord Ruthven) como un aristócrata que, aprovechando la escasa creencia en vampiros de las personas más inocentes, les seduce y perpetra sus sanguinarios actos. Una de sus víctimas es el inocente protagonista de la novela (Aubrey) que, tras ser seducido por el encanto del vampiro, terminará por encubrir los actos de Lord Ruthven bajo juramento, en cualquier caso y situación. En este sentido, el autor pasa de mostrar al enigmático vampiro en segundo plano a ir ocupando un lugar cada vez más prominente conforme avanza la novela.
Creía en la virtud y pensaba que el vicio lo consentía la Providencia sólo como un contraste de aquella, tal como se lee en las novelas… Pensaba, en suma, que los sueños de los poetas eran las realidades de la existencia
Con estos mimbres, Polidori desarrolla un relato breve (96 páginas), en el que la figura del vampiro emerge como un aristócrata refinado y manipulador que, desde su aparente desdén, va atrayendo a personas inocentes para sus oscuros y sangrientos propósitos. Como se ha comentado, este será el arquetipo del vampiro en adelante. En mi opinión, la trama es muy entretenida y sugerente, con lo que mi valoración es de 3,5, que redondeo a 3 estrellas.
En mi opinión, por tanto, una lectura ligera más que recomendable para trazar la evolución de la figura del personaje del vampiro, tal y como lo encontraremos en obras posteriores.
🧛🏻♂️🧛🏻♂️🧛🏻♂️
Terminado en noviembre de 2024
… la gente había observado que aquellos que se atrevían a negar la existencia del vampiro siempre obtenían alguna prueba que, con gran dolor y penosos castigos, les obligaba a reconocer su existencia
Se considera que esta obra de John William Polidori (1795-1821) crea el arquetipo del vampiro romántico que, inspirará obras como Carmille, de Sheridan Le Fanu, El vampiro, de Alejandro Dumas o Berenice, de Edgar Allan Poe, entre otros. Polidori escribió su novela a partir de las reuniones en Villa Diodati de junio de 1816, junto con Lord Byron, Percy Shelley y Mary Shelley, fruto de las que también saldría la archiconocida Frankenstein o el moderno Prometeo, de Mary Shelley. Se dice que Polidori utilizó parte del material que el propio Lord Byron había desechado, y del que era su médico personal.
En la obra se nos presenta al vampiro (Lord Ruthven) como un aristócrata que, aprovechando la escasa creencia en vampiros de las personas más inocentes, les seduce y perpetra sus sanguinarios actos. Una de sus víctimas es el inocente protagonista de la novela (Aubrey) que, tras ser seducido por el encanto del vampiro, terminará por encubrir los actos de Lord Ruthven bajo juramento, en cualquier caso y situación. En este sentido, el autor pasa de mostrar al enigmático vampiro en segundo plano a ir ocupando un lugar cada vez más prominente conforme avanza la novela.
Creía en la virtud y pensaba que el vicio lo consentía la Providencia sólo como un contraste de aquella, tal como se lee en las novelas… Pensaba, en suma, que los sueños de los poetas eran las realidades de la existencia
Con estos mimbres, Polidori desarrolla un relato breve (96 páginas), en el que la figura del vampiro emerge como un aristócrata refinado y manipulador que, desde su aparente desdén, va atrayendo a personas inocentes para sus oscuros y sangrientos propósitos. Como se ha comentado, este será el arquetipo del vampiro en adelante. En mi opinión, la trama es muy entretenida y sugerente, con lo que mi valoración es de 3,5, que redondeo a 3 estrellas.
En mi opinión, por tanto, una lectura ligera más que recomendable para trazar la evolución de la figura del personaje del vampiro, tal y como lo encontraremos en obras posteriores.
June 14, 2012
The history of this short story might be even more intriguing than the actual writing itself. Mr. Polidori was the personal physician of the infamous Lord Byron, and this work of fiction was conceived on that famous holiday event in which Lord Byron, Percy Shelley and Mary Godwin (who would later become Mary Shelley) issued a challenge to each other to write Gothic stories. This was Mr. Polidori's result.
My thoughts:
I have little doubt that Lord Ruthven was inspired by Lord Byron. Polidori's feelings towards his debauched past employer are quite clear. In this case, Lord Ruthven has a supernatural ability to ruin, damage, and destroy anything he lays his hands on, and enjoys doing so in the process. This does not speak well of Lord Byron, and based of what I have read of him, I can see some echoes of him in this character. Lord Caroline Lamb, the incredibly outrageous for her times, cast-off mistress of Byron is immortalized in a character who appears briefly in the beginning of the story, at least in my opinion.
As far as the writing, I didn't feel that it was particularly inspired or brilliant. This short story is all telling and little showing. This created a distance between the characters in this story and myself. It was hard to feel much sympathy for Aubrey, his sister Miss Aubrey, Ianthe, or anyone else because the narrative was too much like a bland newspaper article, with little connection to the intense emotions of the persons involved. I had a distant feeling of dislike and disgust for Lord Ruthven, which with more active, vivid writing could have been outright disgust. That is a sadly wasted opportunity for a writer, in my opinion.
It's hard to say much overall about this story. It wasn't bad. I can't say I was disappointed, because I didn't have high expectations. Regardless of the issues as far as the writing, Mr. Polidori has earned his place in the vampire fiction canon. Sadly, he lived a short, disappointing (to himself) life. Although he could not be aware of the famous status of this story, it is some comfort to me that he has created something that endured two hundred years later. For that I will respect and appreciate The Vampyre. And also for its commentary of Lord Byron, a man whose antics pretty much created its own character archetype in literature, the Byronic hero. Admittedly in this case, there is nothing at all to recommend Lord Ruthven. Lord Byron himself, I cannot say yay or nay to that question.
End verdict: Any vampire fiction aficionado should take the opportunity to read this story at least for its historical value.
My thoughts:
I have little doubt that Lord Ruthven was inspired by Lord Byron. Polidori's feelings towards his debauched past employer are quite clear. In this case, Lord Ruthven has a supernatural ability to ruin, damage, and destroy anything he lays his hands on, and enjoys doing so in the process. This does not speak well of Lord Byron, and based of what I have read of him, I can see some echoes of him in this character. Lord Caroline Lamb, the incredibly outrageous for her times, cast-off mistress of Byron is immortalized in a character who appears briefly in the beginning of the story, at least in my opinion.
As far as the writing, I didn't feel that it was particularly inspired or brilliant. This short story is all telling and little showing. This created a distance between the characters in this story and myself. It was hard to feel much sympathy for Aubrey, his sister Miss Aubrey, Ianthe, or anyone else because the narrative was too much like a bland newspaper article, with little connection to the intense emotions of the persons involved. I had a distant feeling of dislike and disgust for Lord Ruthven, which with more active, vivid writing could have been outright disgust. That is a sadly wasted opportunity for a writer, in my opinion.
It's hard to say much overall about this story. It wasn't bad. I can't say I was disappointed, because I didn't have high expectations. Regardless of the issues as far as the writing, Mr. Polidori has earned his place in the vampire fiction canon. Sadly, he lived a short, disappointing (to himself) life. Although he could not be aware of the famous status of this story, it is some comfort to me that he has created something that endured two hundred years later. For that I will respect and appreciate The Vampyre. And also for its commentary of Lord Byron, a man whose antics pretty much created its own character archetype in literature, the Byronic hero. Admittedly in this case, there is nothing at all to recommend Lord Ruthven. Lord Byron himself, I cannot say yay or nay to that question.
End verdict: Any vampire fiction aficionado should take the opportunity to read this story at least for its historical value.
March 29, 2015
اول محاولة جادة للكتابة في مايدعى بأدب (مصاصي الدماء) و التى تلاها فيما بعد رواية (دراكيولا) المشهورة عام 1897 و التى كان من الملاحظ انها سارت على نفس القواعد التى سبق و ان ارستها هذه المحاولة لهذا النوع من الأدب الرائج فى عصرنا الحالى و اللى من آخر ابداعاته المشهورة سلسلة
Twilight
...
(1816)
تاريخ مهم جدا اتقابل فيه (بيرسي بيش شيلى) و عروسته (مارى شيلي) مبدعة (فرانكنشتاين) ، مع شاعر انجلترا المشهور لورد (بيرون) و طبيبه
((جون بوليدورى))
مبدع هذه القصة .. في جنيف ، و اتفقوا على ان يقوم كل منهم بكتاية قصة تتحدث عن أمر خارق للطبيعة
الكاتبان المشهوران في ذلك الحين بيرسي بيش و لورد بيرون عجزوا عن استكمال التحدى الحميمي اللى اتفقوا عليه مع الكاتبين الهاويين مارى شيلي و بوليدوري ، بينما خط كل من مارى و بوليدورى رائعته المشهورة
(فرانكنشتاين)
لمارى
و
((مصاص الدماء))
لبوليدورى
...
من الجدير بالذكر أنه قد توفي بوليدورى كاتب هذه القصة و عمره 26 عاما مثقلا بالديون و الاكتئاب
و لم تكتب له الشهرة او لقصته الا بعد وفاته
...
Twilight
...
(1816)
تاريخ مهم جدا اتقابل فيه (بيرسي بيش شيلى) و عروسته (مارى شيلي) مبدعة (فرانكنشتاين) ، مع شاعر انجلترا المشهور لورد (بيرون) و طبيبه
((جون بوليدورى))
مبدع هذه القصة .. في جنيف ، و اتفقوا على ان يقوم كل منهم بكتاية قصة تتحدث عن أمر خارق للطبيعة
الكاتبان المشهوران في ذلك الحين بيرسي بيش و لورد بيرون عجزوا عن استكمال التحدى الحميمي اللى اتفقوا عليه مع الكاتبين الهاويين مارى شيلي و بوليدوري ، بينما خط كل من مارى و بوليدورى رائعته المشهورة
(فرانكنشتاين)
لمارى
و
((مصاص الدماء))
لبوليدورى
...
من الجدير بالذكر أنه قد توفي بوليدورى كاتب هذه القصة و عمره 26 عاما مثقلا بالديون و الاكتئاب
و لم تكتب له الشهرة او لقصته الا بعد وفاته
...
November 26, 2020
Hasta hace unos días no tenía conocimiento de la existencia de este relato que descubrí gracias a un video del canal Victorian Spirit. La primera sorpresa es que el autor que era el medico de Byron lo escribió en Villa Diodati en el mismo momento en el que Mary Shelley daba vida a su Frankenstein con esas casualidades que tiene a veces el destino. Este pequeño relato dio vida al mito del vampiro aristocrático que luego perfeccionaron autores posteriores con el mas famoso de todos en el Drácula de Bram Stoker y me ha sorprendido que Dumas se inspiró en este personaje creado por Polidori para su Conde de Montecristo. La verdad es que su corta longitud hace que la historia no esté muy desarrollada pero el argumento es fantástico y hubiera dado para un novela de mayor envergadura. Para todos los amantes de las historias de terror y en particular de las historias vampíricas indispensable el leerlo.
April 13, 2014
Note, April 13, 2014: I've just updated this review slightly to correct some factual inaccuracy in the account of the tale's origin.
Personal physician to Lord Byron, Polidori was present for the same challenge to the Byron-Shelley households to write a scary story that produced Mary Shelley's Frankenstein, but apparently didn't immediately take part in it. He later produced this literary treatment of the vampire legend (the first one to be published in English) using Byron's story, which the famed poet started but left incomplete, as a basis, but re-writing it completely. (The edition of The Vampyre that I read, which is different from this one, reproduces that fragment as well, and it is superior in style and treatment to Polidori's effort.) Really a glorified short story, with a thin, melodramatic plot and sketchy characterizations, this novella succeeded as well as it did because of the novelty of its theme (and the rumor that Byron actually wrote it).
Ruthven is an amoral, egoistic, aloof character supposedly seductively appealing to women, and can be seen as a Byronic antihero in something of the typical Romantic mold, into which his vampirism fits very well; and he set a kind of pattern for the aristocratic male vampires in the classical vampire fiction tradition that would follow. But, like all the vampires in that tradition, he is not a dynamic character.
The central conflict in the story proves to be internal for the hero: does he expose his own sister to mortal danger, or break his word, given to Ruthven, not to disclose something that he knows. This probably strikes modern readers as a false conflict, since most of them wouldn't take their own word that seriously; but while this novella has plenty of implausible melodramatic elements, for Polidori's generation this dilemma would seem genuine: gentlemen of that day were expected to take their given word very seriously, even when it proved to be against their interest. (Whether we've "progressed" or devolved since then is an open question.)
Personal physician to Lord Byron, Polidori was present for the same challenge to the Byron-Shelley households to write a scary story that produced Mary Shelley's Frankenstein, but apparently didn't immediately take part in it. He later produced this literary treatment of the vampire legend (the first one to be published in English) using Byron's story, which the famed poet started but left incomplete, as a basis, but re-writing it completely. (The edition of The Vampyre that I read, which is different from this one, reproduces that fragment as well, and it is superior in style and treatment to Polidori's effort.) Really a glorified short story, with a thin, melodramatic plot and sketchy characterizations, this novella succeeded as well as it did because of the novelty of its theme (and the rumor that Byron actually wrote it).
Ruthven is an amoral, egoistic, aloof character supposedly seductively appealing to women, and can be seen as a Byronic antihero in something of the typical Romantic mold, into which his vampirism fits very well; and he set a kind of pattern for the aristocratic male vampires in the classical vampire fiction tradition that would follow. But, like all the vampires in that tradition, he is not a dynamic character.
The central conflict in the story proves to be internal for the hero: does he expose his own sister to mortal danger, or break his word, given to Ruthven, not to disclose something that he knows. This probably strikes modern readers as a false conflict, since most of them wouldn't take their own word that seriously; but while this novella has plenty of implausible melodramatic elements, for Polidori's generation this dilemma would seem genuine: gentlemen of that day were expected to take their given word very seriously, even when it proved to be against their interest. (Whether we've "progressed" or devolved since then is an open question.)
October 14, 2021
The Vampyre; a Tale is an 1819 horror short story. I was only interested in reading this book because of its association with Frankenstein. This work was written by John William Polidori during a contest in which Mary Shelley wrote Frankenstein, and also Lord Byron and Percy Shelley participated.
I count Frankenstein as a great book. Where The Vampyre; a Tale was confusing, overly detailed, with awkward writing. Nothing about the 20-page story engaged my attention.
The audio book narrated by Gary Turner was good, but nothing special. Unfortunately, I could not tell by the contents list there were three other parts on the audio besides the story.
After checking an eBook copy, I found the first part is Extract of a Letter from Geneva (a boring and rambling 29 minutes on the audio); the second part is an Introduction ( this seemed to be a hodgepodge of vampire facts) that span three pages; third is the tale, The Vampyre; and finally is Extract of a Letter, Containing an Account of Lord Byron’s Residence in the Island of Mitylene (another boring rambling 11 minutes on the audio). I list the parts for you in the hope, if you still want to listen to the audio of The Vampyre; a Tale, you may wisely skip to the tale that starts around the 22% mark.
The Wiki says The Vampyre; a Tale “is often viewed as the progenitor of the romantic vampire genre of fantasy fiction.” While I enjoy reading books that are early influencers of genres, I would not have missed anything had I skipped this one. As far as early vampire books go, I would recommend Carmilla over this one.
I count Frankenstein as a great book. Where The Vampyre; a Tale was confusing, overly detailed, with awkward writing. Nothing about the 20-page story engaged my attention.
The audio book narrated by Gary Turner was good, but nothing special. Unfortunately, I could not tell by the contents list there were three other parts on the audio besides the story.
After checking an eBook copy, I found the first part is Extract of a Letter from Geneva (a boring and rambling 29 minutes on the audio); the second part is an Introduction ( this seemed to be a hodgepodge of vampire facts) that span three pages; third is the tale, The Vampyre; and finally is Extract of a Letter, Containing an Account of Lord Byron’s Residence in the Island of Mitylene (another boring rambling 11 minutes on the audio). I list the parts for you in the hope, if you still want to listen to the audio of The Vampyre; a Tale, you may wisely skip to the tale that starts around the 22% mark.
The Wiki says The Vampyre; a Tale “is often viewed as the progenitor of the romantic vampire genre of fantasy fiction.” While I enjoy reading books that are early influencers of genres, I would not have missed anything had I skipped this one. As far as early vampire books go, I would recommend Carmilla over this one.
December 10, 2023
Recommended to me by my lovely friend Sarah after my long overdo read and great appreciation of Carmilla. Before I go any further, just to let you know, Sarah’s review is miles better than mine, so I don’t mind if you just pop over and read hers instead.
Anyway, I woke well before dawn from a very weird dream, I’m not telling you about it, honestly I’m trying to forget it and get the images out of my mind, but the ugly ones seem to linger, don’t they? Nice dreams always tend to leave me with a warm fuzzy feeling but after mere minutes awake, I haven’t a clue about any details… This was probably a close to perfect mindset for this atmospheric and sometimes dreamlike story. I adored some details and it was very nice to dig further back into the origin of the modern vampire tale. The shortness, and also the fact that the conventions and style of storytelling that we know best nowadays were not established in 1819 brought enjoyment down a bit though. I don’t mind venturing into the less familiar now and again, but it kind of makes me wish for something more every time.
This is in the public domain and it’s a very quick read, so even the slightest interest should make you pick it up and find out.
3 Goodreads stars - I liked it.
Anyway, I woke well before dawn from a very weird dream, I’m not telling you about it, honestly I’m trying to forget it and get the images out of my mind, but the ugly ones seem to linger, don’t they? Nice dreams always tend to leave me with a warm fuzzy feeling but after mere minutes awake, I haven’t a clue about any details… This was probably a close to perfect mindset for this atmospheric and sometimes dreamlike story. I adored some details and it was very nice to dig further back into the origin of the modern vampire tale. The shortness, and also the fact that the conventions and style of storytelling that we know best nowadays were not established in 1819 brought enjoyment down a bit though. I don’t mind venturing into the less familiar now and again, but it kind of makes me wish for something more every time.
This is in the public domain and it’s a very quick read, so even the slightest interest should make you pick it up and find out.
3 Goodreads stars - I liked it.
February 5, 2017
A historical milestone. That's what 'Vampyre' is. Written in 1819, this short fiction is considered as (one of the) first story to successfully use vampire as an antagonist.
History aside, the story itself started strong, but fell short towards the end.
I particularly enjoyed the first encounter of vampyre in Greece. However, the actions of characters became illogical after that incident.
In my edition (project Guttenberg), I found an extract which serves as an introduction to the story. I'm going to use a sentence from that extract to define irony from now on!
History aside, the story itself started strong, but fell short towards the end.
I particularly enjoyed the first encounter of vampyre in Greece. However, the actions of characters became illogical after that incident.
In my edition (project Guttenberg), I found an extract which serves as an introduction to the story. I'm going to use a sentence from that extract to define irony from now on!
"He had been tormented by a vampyre, but had found a way to rid himself of the evil, by eating some of the earth out of the vampyre's grave, and rubbing himself with his blood. This precaution, however, did not prevent him from becoming a vampyre himself"
May 3, 2020
I found this story to be fairly pointless and pretty boring. The main character is incredibly weak and useless, and the ending is very abrupt.
I credit this because it brought on vampires (and I tend to love everything vampires.)
This short story though, was a disappointment.
I read this for university.
I credit this because it brought on vampires (and I tend to love everything vampires.)
This short story though, was a disappointment.
I read this for university.
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